Yichun You, Jianjun Wu

(School of Design and Art, Beijing Institute of Printing and Technology)

Abstract：

The expression form of pink, white, gray and light on the screen may be an aesthetic choice for artists, but it has become a symbol of the indirect existence of modern art in painting. It reflects a certain indifference and opacity that permeates between the artist and reality, the artistic object, the viewer, and oneself. Gray light is our traditional painting preference for shades of gray, which is also related to the preset lighting of traditional landscape paintings. However, from a modern perspective, it seems to be a general term for non emotional emotional experiences, unclassifiable anxiety fragments after multiple reliefs. It reflects the situation faced by artists in the era of large-scale image production.

Key Words：

indirectness; subject; light and shadow; tactile sensation