Author: Yijun

After taking a 4-week process into image course, it has exercised my drawing skills and photography skills. The reason why I chose these two paintings as my final work is that during the long period of lockdown, dessert became my salvation. Not only did it bring me physical happiness, but it also enriched my life in lockdown. And let me experience the joy of making desserts by myself.

The reason I named the second painting Chaos is that when I stayed at home for a long time, I felt that I was kidnapped by my mobile phone. I was staring at my mobile phone all the time, which made my mind confused. I want to use this picture to remind myself that mobile phones are not a necessity in our lives, and sometimes I need to keep myself away from mobile phones.

A piece of rubbish

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A printed screengrab from a film

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A piece of printed fabric

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Wilhem Sasnal

Wilhem Sasnal is not only a passionate painter and a talented filmmaker, but also an artist with a unique sensitivity to the world around him. His paintings are influenced by cartoons, posters, photographs, videos, music and films, reflecting the multicultural characteristics of contemporary society. The subjects of his works are ordinary things in daily life, such as, historical figures’ portraits, natural landscapes, photos of his relatives and friends or pictures from online media. These subjects seem to have no distinctive features, but Sasnal gives them allegorical themes. We can think of these works as symbols of time, constituting the modern history of the year. Anything Wilhem Sasnal is interested in and obsessed with in life could be turned into his painting. In composition, he makes all kinds of wonderful attempts to bring out the most striking visual impression. He constantly explore the potential of visual imagery.
When I am appreciating Wilhem Sasnal’s works, I find that his paintings maintained a simple and flat tendency. He pays attention on conveying the meaning of painting rather than focusing on details. As an appreciator, I can fully see his expectation of traditional expression and perception, and his thoughts on society, culture and life.

A photo including people

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A printed image of a painting made before 1900

The French Romantic painter Eugène Delacroix described the sparkling, jewel-toned watercolors of the British painter Bonington, with whom he shared a Paris studio, as “like diamonds.” In this view of Rouen seen from the northeast, broad wet washes evoke the sunlit sky, a dark cathedral soars above the blotted colors of the city’s haze, and exquisite touches of a fine brush suggest tiny figures and the masts of distant ships. A version of this view was reproduced in aquatint by Thales Fielding in N.-J. Lefebvre-Duruflé’s Excursion sur les côtes et dans les ports de Normandie, published 1823–25.

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Most of Raoul de Keyser’s work is abstract paintings and works on paper. Spreading a few thick lines and scatter fragments on a monochromatic canvas will constitute a piece of his work. Raoul de Keyser’s works use very few elements, such as, a few simple patterning or a few limited pieces of color, which makes his paintings seem clumsy and simple. However, when I look at them closely, I find there is something poetic in the unspeakable feeling of paintings.

Raoul de Keyser’s works reflect his ephemeral observations of life, for example, the minutiae of everyday life, a hose hanging over the patio, a tent pitched in a field, Araucaria angustifolia outside the studio, gloomy skies, etc. The scenes depicted in the work bear witness to his peaceful, prosperous and quiet way of life. Although his materials are common in daily life, these materials have a mysterious vagueness and uncertainty. In addition, some simple themes recur in Raoul de Keyser’s works, reflecting his unflagging passion for exploring the possibilities and limits of painting. It is these deceptively simple themes that generate a fascinating intensity and ambiguous tension.

To be specific, appreciating Raoul de Keyser’s works make me realize that he always kept a sharp reaction on his living environment and was adept at abstracting them.

A photo without people

(Original image)

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I am still use the vibe(blow) to painting