Emerging

Memories of Hometown

Artist Chen Xuefeng
Creation Date 2017
Material Oil on canvas
Size 80 x 80 cm
Category original
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Current total $2,976.00

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Perspectives

A closer look

Artwork Notes

Art appreciation

The square canvas is divided into four horizontal fields: sky, pale ground, dark bank and water, with the water occupying the lower half. The shoreline acts as a stable boundary. Tall narrow trees rise behind it and interrupt the long bands without producing a single centre. The highest group at right balances thicker woodland at left, leaving the middle more open. The eye crosses pale reflections towards the dry bank. The broad water creates a sustained interval between the near bank and the distant shore.

Colour stays within ochre-brown, earth yellow, olive green, warm grey and small passages of cream. Thin level strokes spread through sky and water; the lower water is warmer, while dark grey-brown gathers at the bank. Trunks rise in quick narrow marks and foliage contracts into soft grey-green masses. Reflections do not duplicate whole trees, retaining only scattered lights and shadow. Low contrast lets the far bank recede while small warm and cool shifts preserve the observed light.

Chen repeatedly paints hometown terrain, rural houses and Hakka subjects, using compact compositions, restrained natural colour and atmospheric light. Memories of Hometown avoids a famous landmark. An ordinary bank, a line of trees and dry seasonal grass become familiar through repeated encounters with this kind of landscape. His background in graphic design may also help explain the clear division of the four bands, but their subtle variation depends on sustained attention to a real landscape.

Theme

Style and context

Realist landscape has long recorded ordinary terrain, while Impressionism made reflected light, air and the moment of looking active parts of the composition. Memories of Hometown holds both together. Bank, ground and trees remain spatially legible, and softened contours with broken reflections give atmosphere an equal role. The square format reinforces the long divisions, with slender trees entering them as pauses of changing density.

The work locates memory in observable features rather than narrative detail. Water separates the two shores, no identifiable building closes the distance, and dry vegetation with low light indicates seasonal change. Chen attaches the personal title to this familiar terrain, allowing the measured distance and subdued colour to carry the sense of looking back.

Artist Profile

About the artist

Chen Xuefeng was born in Hunan in 1980 and now lives in Shenzhen. He is an oil painter and senior advertising designer, and a member of the Shenzhen Artists Association and Futian District Artists Association. In 2000, he entered the School of Art at Central South University.

He later taught at Shenzhen Second Senior Technical School and established his own art space in 2009 to focus on oil painting. His subjects include hometown landscapes, old rural houses, floral still lifes and Lingnan Hakka villages. The transition from advertising and teaching to an independent studio practice sharpened his use of concise composition, restrained natural colour, light and atmosphere.

During his university years, Chen held a solo Chinese-painting exhibition in 2003. In 2024, his solo oil-painting exhibition Homecoming at Shenzhen Red Cube Public Art Museum presented more than forty works. His representative works include Dusk Stillness, Hakka Walled Village Series, River of Homeland and Lotus Series.

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