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Unit 3 MA Show

In the Unit 3 MA Show, I exhibited three oil paintings: When It Soaks My Veins, Wandering in Her Tenderness I, and Wandering in Her Tenderness II. This exhibition offers an excellent venue for showcasing my work. The creations of other peers, crafted with different materials, resonate with mine. Positioned at the innermost part of the space, my pieces are placed in a spot where they are immediately visible to the audience upon entering. Building on my research process, I dived deeper into exploring how to convey my thoughts through visual expression.

Unit 3 MA Show documentation

Before creating When It Soaks My Veins, I visited the Orchid Festival at Kew Gardens. The exhibition featured a wide variety of orchids, ranging from common species to rare ones with unusual colors and shapes. I was captivated by their peculiar forms and the eerie beauty in their uniqueness, a resilient vitality that stood out. Inspired by this, I chose one orchid for reinterpretation, experimenting with a different color palette. I began with a watercolor sketch to capture its transparency, as the water-based medium allowed for a delicate layering effect. Transitioning to oil painting, I first applied a watery acrylic base to the canvas, which helped control the thickness of the oil paint and allowed for more intricate details. I completed the orchid’s central figure first as I am creating a self-portrait. I then worked on the leaves, weaving them between the petals. Using transparent layers to disrupt yet not fully obscure the main subject, I also try to create an interwoven and fused composition. This approach reflects how societal turbulence subtly impacts me.

When It Soaks My Veins

Photos taken at Kew Garden

Water color practice

Watery acrylic background on canvas

Completing main subject

Adding layers on subject

Wandering in Her Tenderness I & II

I employed a similar technique in Wandering in Her Tenderness I and II. The subjects of these works were flowers I noticed by chance in a roadside flowerbed. Both were in a fragile, near-wilting state, yet their determination to survive resonated with me. The beauty in their vulnerability and resilience inspired me to convey a mysterious yet persistent strength. To this end, I chose deep red and dark purple as the dominant colors, as they evoke a sense of the unknown and the hidden—like thick, dark blood spreading in a cold environment, symbolizing survival. In this compressed and fluid space, even when overwhelmed, we can still strive to find balance and endure. This represents a process of self-adjustment, a gentle acceptance of oneself in chaos.

Creative process

Current Practice

Building on my current concepts and techniques, I continue to refine my skills, integrating transparent elements more seamlessly into my compositions. I am currently working on two new paintings, where I take a bolder and more improvisational approach, allowing the transparent layers to naturally weave between the main subject and the background. This spontaneity and dynamic quality are what I hope to further develop in my future work, aiming to intuitively find balance between the visual and the personal, from the perspective of plants.

Details of new work-in-progress

Additionally, I’ve been experimenting with cyanotype. The process, which involves sunlight exposure and water washing, is experimental and unpredictable, which fascinates me a lot. Watching the silhouettes of plants gradually emerge against a blue background, and then washing away excess liquid on the surface, is a true moment of delightful surprise. It is an artwork of time, and I enjoy the overlapping effects that result from different compositions and placements, each one unique and unrepeatable.

Cyanotype experiment

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