De Stijl 93, A Vivid History Lesson, May 2018.

I received a commission of 10,000 RMB for a painting to decorate a wedding apartment.

SO, here we go.

Instead of immediately starting designing a complex composition, I asked for a few photos of my commissioner’s house. A wall that I believe it was suitable has been selected. I chose I wall surrounded by grey paint, with only a yellow lamp installed. I think other position in the apartment may be big enough to place objects that possibly influence my control of colour. So I basically started to consider my painting a unique decoration of the house which can bring a balance of blank space and volume.

As it mentioned above, the spot I chose was painted grey, so basically, only strokes of the outline of two entrances of rooms are observable. When the light turned on, a project of bright yellow will further impact on the shortage of space.

Therefore, I decided the painting needs to have two layers. By so when the audience explores the image, they would notice the layer beneath, and a closer observation will distract them from the shortage of the space. I avoided to create a narrative because I believe expressing a narrative image a forming of space is required; putting another area to occupy the wall is a disobey of my plan.

I looked into Kandinsky and Rothko’s works for inspiration and produced the first layer.


I brushed them with gold colour that reflective to light. So with a direct light source, beneath the layer above, there will be a visually-felt-distant space shining, like Nocturne in Black and Gold: The Falling Rocket by James Whistler, but reversed.

I intentionally divided those squares with unparalleled lines, to make the fixed impression of certainty. The audience will eventually notice that lines are not, but I do not think they will be entirely sure; paintings inspired by Kandinsky have generally consisted of orthogons, now audiences could change a few positions to confirm whether lines in my works are unparalleled. Moreover, it is also an expression of my dislike to simply, massive-used, completely straight lines in contemporary interior architecture. When thinking of the concept of ‘paralleled’ when people saw a straight line while walking into a modern house, in their imagination, they could directly fill in the rest of the line; I cancelled that. Go observe the rest.

Massive use of a particular style will make the audience as well as the market, blind.

Afterwards, I started to knife very thick oil paint on. By using different colour and splitting into different parts, further with random spots that revealing the gold layer, a 2D surface is now several spaces to look into.


And the final outcome.


My commissioner was very satisfied with the thickness of the paint.

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