Emotional Entanglement of the Past

Intro:
Although people’s lives may constantly be moving forward by their choices and actions, along the way, people will encounter many different men, women, and things that will change the end of their original journey. People feel incomparable happiness with family members’ companionship, hometown care, friends’ help, pets’ protection, and lovers’ sweetness. Still, they also feel great pain because of the departure or betrayal. The heart comes and goes in between, slowly adapting to this society, painting the unfinished painting of life from the strong constraints that are difficult to give up. The curator hopes that Hong Ying’s paintings this time will allow everyone to recall the sweetness and pain of the past. Don’t take anything as a matter of course. Cherish the friends who are still around now, and call those who have not been in touch for a long time. Tell them: I’m back.

Hong Ying, who grew up in a conservative family, what attracts her most about contemporary painting is that it is filled with suppressed power but eager to get rid of and break through the shackles of tradition. She pays special attention to deviant emotional expressions, as well as the visual experience of purely piecing together totems to create pictures. The Fauvist Matisse influenced her earliest creative concepts and directions. During her stay in the United States, her training gave her a more solid foundation for painting. Living in San Francisco, where artistic development is independent of world trends, Hong Ying’s creative state has changed. She has absorbed the elements of the figurative style of the San Francisco Bay Area, and the flowing brushstrokes and unique shaping began to wander in her works, gradually completing the current direction of her works.

Hong Ying’s works are generally presented in the form of group pictures. In the expression techniques of creation, the sense of movement of the film lens is often used to drive the absurd narrative plot so that the audience enters a kind of: “This is a plot that exists in non-reality.” She wants to reflect the uncontrollable factors of the objective state of reality with a cold emotional section that is out of the world. There is a state of spatial inversion or character reversal in the work to express a kind of uncertainty about space, time, and story development. The experimental form of creation is an essential way for Hong Ying to explore the language of personal painting, and the bizarre story picture is the basis of my creative emotions; the contradiction between the fantasy unreal world and the natural world is Hong Ying’s creative purpose.