Other Sketches
Recently, I have been trying out painting many different plants, varying the size, composition, and colors. I am also constantly discovering more abstract and peculiar natural forms in life.
While creating "Whisper," I did not incorporate much personal emotion; I depicted each detail very plainly. I started with deep blue and green for the base layer, then gradually outlined the shapes of the flowers and leaves. Although the overall color looks very deep, it was actually applied in thin layers without using much turpentine. I focused heavily on the highlights of the leaves and the overall sense of depth. I wanted to draw the viewer into the entire scene. Thus, I paid special attention to the details of the flower stamens, which are closer to us, while the leaves did not have much color since they are behind the flowers and therefore don't affect the highlights of the objects in the foreground.
Creating "Whisper"
Creating "Lullaby"
Before painting "Lullaby," I was captivated by the stamens of this flower, so I decided to focus on depicting their details. The painting process was similar to that of "Whisper," but the composition did not include much of the surrounding environment. After I finished painting the filaments, I found the overall image too bright and abrupt. Hence, I waited for the paint to dry slightly and then lightly added a thin layer of dark green to the stamens to better highlight the depth and relationship between the foreground and background.
Experimenting with Water-based Colors
Departing from previous oil paintings, this time I used acrylics for the base layer because I wanted to experiment with how water-based materials could better reflect the transparent texture. I sketched out the drawing and decided on the colors I wanted to use, starting with pink, then green and yellow. After the acrylics dried, I applied oil paints. This painting was a challenge for me, as I was used to focusing on details in my previous works, but this piece required me to break from the conventional composition and choice of colors. The entire process required more imagination and less reference, so I let my lines flow more freely in multiple directions and blend background colors to extend more possibilities.
In my phone album, I have a collection of plant references that are taken by myself. They were captured from Kew Garden, Victoria Embankment, roadside flower beds, and places I noticed by chance. I am attracted to rare, peculiar, and wilting flowers, which have a unique aesthetic. When I take pictures of plants based on my first intuition, I already see how they can be portrayed on my canvas. Many of them are close-ups, showing more details and shapes of the plants. Therefore, the first step in my painting process is to collect a large number of photos for inspiration.
Plant Reference Collection
This year, I visited the Orchid Festival at Kew Garden, where there were different types and colors of orchids. I was attracted to an orchid growing in the corner that had a different hue from the usual ones. It had a very unique texture and its bold, saturated colors made it really special. Due to the color variations, I had to layer different colors continuously and finally used dark lines to outline shadows and some peculiar plant shapes.
Transferring small pictures to larger frames requires handling more details. In my latest work, I keep experimenting with new colors and bold compositions. During the painting process, the palette itself can become a great piece of work. Using a lot of water to blend acrylics gives a texture very similar to watercolors, and I enjoy this slow evolution. Each time, there is a new sense of experience.