At ease 2023

Watercolour on Arches 140 lb Rough paper

40 cm x 30 cm

This is the first piece in the series. I spent a lot of time in the country in December and January, and had the opportunity to see many birds every day. The creative process of each painting varies, but one method I often use is to start with small thumbnail sketches, then do extensive reference research and study(oftenly, I combine multiple references into one design), create a colour palette, practice details, and finally begin painting, continuously thinking and refining until completion. I'm very satisfied with many aspects of this work. The most satisfying part was the abstract strokes used to draw the leaves, which perfectly captured the joyful mood of seeing this bird every time.

Attentive 2023

Watercolour on Arches 140 lb Rough paper

40 cm x 30 cm

This is the third design of the Laughing Kookaburra (the second one was not successful). That week, I revisited some Eastern bird and flower paintings at the NGV and then sketched out this design. That evening, I spent a long time drawing a complete sketch based on my design and several reference photos. I don't always finish the drawing before starting to paint on watercolour paper, but this process helped me recover from the frustration of the failure of the second design. The Laughing Kookaburra stands on a high branch looking down, so I tried to simplify the lower part of the picture and emphasise the sense of space. I think at that moment, the bird was alert and curious.

Devoid 2023

Watercolour on Arches 140 lb Cold Pressed paper

31 cm x 22 cm

It took me a long time contemplating the Butcherbird. I wet the paper and let it dry twice, but I was still unsure how to start. The Butcherbird is mostly black, white, and grey, so I decided to use minimalist brushstrokes and background design to integrate the bird with the tree trunk. Rather than making a decision, it's more like I didn't have a second option for painting it. The butcherbird is singing and exudes a sense of strength, so the trunk also had to appear robust. I counted every stroke in my mind and didn't go back to make changes.

Slumber no.2 2023

Watercolour on Arches 140 lb Cold Pressed paper

40 cm x 30 cm

Sometimes, after finishing a piece of artwork and feeling satisfied with the result, I still feel like there's more to be done. Javi's amazement at the wings of the flying foxes influenced me. I noticed how unique, wonderful, and fragile they are! Most precious things are like that. From my own experience, the passion for creating is also like the wings of a flying fox. The most precious things are worth protecting with all our might.

Anticipate 2023

Watercolour on Arches 140 lb Cold Pressed paper

43 cm x 30 cm

This was an experimental process where I first designed the rough idea with a pencil, then used Photoshop to complete the composition with different references, and finally worked with paper. Photoshop was a new tool in my paintings. I was glad I tried this, and it will be a useful method/tool to try again in the future. However, most of the time, it's only by laboriously using a pencil on paper to slowly draw even the most mundane things that can activate my brain or make my inner feelings clearer. As for this piece itself, the bold use of large brushes and quickly completing the painting without hesitation is what excites me the most.

Catch 2023

Watercolour on Arches 140 lb Cold Pressed paper

25 cm x 20 cm

International Artists Magazine's editor invited me to participate in a challenge to create freely based on a reference image of a snake sculpture in a park. I thought about how to interpret the snake theme, and because I was painting birds at the time, I thought why not paint a female darter, also known as a snake bird. The colour of the female bird could correspond to the snake. I searched for a lot of material and felt the different dynamics of the darter. Finally, I decided to use a dark background to highlight the bird's slender white neck and white reflection on the equally dark water surface, trying to connect it with the impression of the white snake. From an anatomical perspective, the bird is not very accurate because there are many imaginative elements in it, but I don't think that matters.

Hide and seek 2023

Watercolour on Arches 140 lb Cold Pressed paper

21 cm x 17 cm

This small sketch is my second response to International Artists Magazine's challenge, and it has three meanings. At the time, I was reading a book by British artist Judi Whitton, who explained the concept of a vignette and how to paint it. I was pleasantly surprised to realize that the composition of Eastern painting, especially the use of white space, can echo Western painting. So this sketch was intentionally designed as a vignette. The white snake sculpture in the reference image gave me a sense of childishness and friendliness. So I added my own imagination and drew a little girl playing hide-and-seek with the snake behind the tree. Lastly, it was a reminder to myself to always approach painting with a playful attitude and to have fun with it.

Equilibrium 2023

Watercolour on Arches 140 lb Cold Pressed paper

30 cm x 40 cm

Since seeing Watanabe Shotei’s(1851-1918) plovers, I have been drawn to its interesting composition. This fourth seagull painting is my response to that inspiration. In terms of perspective and colour(I am fascinated by the Australian sun-drenched light), I must admit the influence of another artist on me: Joaquin Sorolla(1863-1923) of Spain. This is the last of four seagull paintings, and the only one emphasising their stillness rather than their flying posture. Perhaps using white space to depict the beach is a bit strange, but it is the manifestation of my obsession with negative space, and it’s better that I let it be.