[7 WORKS] 2021-Frame and Field / SHERWIN J. WANG OIL PAINTINGS COLLECTION
2021 SHERWIN J. WANG
OIL PAINTINGS COLLECTION
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Artist Statement
Over the course of the global pandemic, I have dedicated my time to creating a series of oil and acrylic landscape paintings inspired by the scenic vistas of Los Angeles County, Orange County, and San Diego County in Southern California. These works are neither en plein air studies nor mere reproductions of photographs; rather, they are renditions based on the impressions retained in my mind after experiencing these landscapes.
In my art, I do not strive for the factual accuracy of the scenes. Instead, I am drawn to the fragmented and blurred nature of memory, and how these recollections leave profound traces even as details fade. My paintings reflect the beauty of these deeply ingrained mental images, which, in my view, surpass the landscapes observed directly through the lens of the eye. It is within this realm of memory and imagination that my work finds its true essence, capturing not just the scenery but the emotional resonance that lingers long after the moment has passed.
Through my artwork, I invite viewers to explore these landscapes not as they are, but as they are remembered and cherished within the depths of the heart.
Frame and Field - Ember Bank【SAATCHI ART】
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Frame and Field — Ember Bank (12252021)
《框与原野——火色河岸》
1) Catalog Entry｜作品条目
Title｜题名: Ember Bank（《火色河岸》）
Date｜日期: 12/25/2021
Medium｜媒材: Oil on canvas（布面油画）
Size｜尺寸: 20 × 16 x 1.5 in（约 50.8 × 40.6 cm）
Series｜系列: Frame and Field
Keywords｜关键词: autumn blaze / 秋焰色、impasto foliage / 厚涂树叶、scarlet–gold field / 绯红金黄场、violet eddies / 紫涡、river edge / 河岸、white shoreline seam / 白色岸缝、diagonal thrust / 斜向推进、palette-knife texture / 刮刀肌理
2) Visual Analysis｜构图与语言分析
中文
画面上三分之二被绯红、金黄与翠绿的厚涂所占据，像一堵燃烧的林幕；中下部出现一条白色横缝，将上部“林地”与下部赭橙色的水岸/倒影区分隔。若干紫色与群青的团块在左右两端翻涌，打破暖色的单一。整体由左上向右下呈斜向推进，密度较大的上部与更为开阔的下部形成呼吸。
EN
The upper two-thirds is a blaze of scarlet, gold, and viridian impasto, reading as a burning thicket. A white horizontal seam near the lower third splits this from an ochre riverbank/reflective zone below. Violet and ultramarine eddies churn at the flanks, cooling the heat. The composition drives diagonally (upper left → lower right), with dense canopy above and a looser base below.
3) Creative Intent｜创作思路
中文
我把“冬日河岸边的残叶与低阳”转化为能量带：上部是被日光点燃的植被，下部像水面将火色回响。白色岸缝既是边界也是节拍，让观者在热度与静面之间往返。
EN
The work turns a winter riverside—spent leaves under low sun—into a band of energy. The top ignites with foliage; the bottom echoes the fire as water. The white seam acts as both boundary and beat, bouncing the eye between heat and stillness.
4) Technique Notes｜绘画技法
中文
以赭石底起画，使用重装刮刀堆叠镉红深、镉黄中与翠绿，边缘回刮形成撕裂感；在关键转折加入象牙黑/深褐短划强化枝条方向。白色岸缝为一次性横向拖抹，随后在下方以刮擦+薄罩叠出水痕；紫与群青采用直按与轻度擦除，制造冷涡。
EN
On an ochre ground, loaded knife slabs of cadmium reds/yellows and viridian are pressed and scraped back for torn edges; short strokes of ivory black/umber set branch vectors. The white shoreline is a single pull, with the lower area scraped and glazed for water riffles. Violets and blues are dabbed and lightly wiped to form cool eddies.
5) Spiritual Reading｜属灵解读
中文
热烈的上半与沉静的下半，像焚烧与倒影的并置：生命在消耗中显出光，而水面提醒安息与照见（诗23:2）。那道白缝告诉我：在界线处，更新与克制同时发生。
EN
Flame above and reflection below: life shines as it is spent, while the water recalls rest and seeing (Ps. 23:2). The white seam suggests that at boundaries renewal and restraint meet.
6) Wall Label｜展签（精简版）
中文
火色林幕被一道白岸缝切开，赭橙之下是水的回声；紫蓝冷涡在边缘降温。热与静对读，河岸在燃烧中保持清明。
EN
A fiery screen splits at a white shoreline; the ochre below answers like water. Violet-blue eddies cool the rim. Heat converses with stillness—clarity kept at the burning bank.
Frame and Field — Midnight Stream (12062021)
《框与原野——子夜溪流》
1) Catalog Entry｜作品条目
Title｜题名: Midnight Stream（《子夜溪流》）
Date｜日期: 12/06/2021
Medium｜媒材: Oil on canvas（布面油画）
Size｜尺寸: 20 × 16 in（约 50.8 × 40.6 cm）
Series｜系列: Frame and Field
Keywords｜关键词: ultramarine field 深群青场、teal current 蓝绿水流、knife-impasto 刮刀厚涂、diagonal eddies 斜向涡流、spark highlights 闪点高光、cold season 冬意、reflection grids 倒影网格、crimson/purple accents 绯红/紫色点燃
2) Visual Analysis｜构图与语言分析
中文
通幅以群青、蓝绿、青蓝占据主导，密集的刮刀块面与斜向的黑色分割线交织，像被月光切割的水面与石脊。上缘点缀翠绿与少量朱红/紫，形成冷暖火花；下半部蓝度更深，局部钛白擦露像水的碎光与冰屑，整体产生由上而下的流动与下潜感。
EN
A dominant field of ultramarine, teal, and cerulean is crosscut by diagonal dark slashes, reading as moonlit water broken by ridges. At the top, viridian with small crimsons/purples ignite cool–warm sparks. The lower half deepens in blue; rubbed titanium whites flash like ripples or ice, yielding a sense of flow and descent.
3) Creative Intent｜创作思路
中文
我将“夜行至溪边”的经验压缩为颜色的水文：蓝系是流体的体温，深色线是水下结构；零散的红紫像岸边生命的呼吸。不是再现某处，而是把冬夜水声化为画面的节奏。
EN
The piece condenses a night-walk by a stream into chromatic hydrology: blues as the body heat of water, darker strokes as its substructure; scattered reds/purples as living breaths along the bank. It is not a site view but the rhythm of winter water made visible.
4) Technique Notes｜绘画技法
中文
以冷蓝底铺场，湿上湿压入群青、普鲁士蓝与蓝绿；用重装刮刀斜向拉抹，留出硬棱与破口。局部以干刷+擦除显露底白，形成反光颗粒；深处使用象牙黑与深靛轻度混擦，避免纯黑。红与紫采用点按与短划，只在关键节点点燃节拍。
EN
A cool-blue ground receives wet-into-wet ultramarine, Prussian, and teal. Loaded knife pulls set the diagonals, leaving ridges and tears. Dry-brush and wipe-backs expose ground for sparkle; depths are massed with ivory black mixed into indigo to keep blacks alive. Reds/purples are dabs and short strikes to ignite hinges.
5) Spiritual Reading｜属灵解读
中文
在最深的蓝里仍有碎光——像夜里仍被看顾的记号（诗139:11–12）。水的下潜与再度泛亮提醒：低处也能承载更新；流动不止，方向在人看不见之处被温柔地引领。
EN
Even within the deepest blue, shards of light remain (Ps. 139:11–12). The descent and re-illumination of the water suggest that renewal is carried in the lows; the current moves on, guided where eyes cannot.
6) Wall Label｜展签（精简版）
中文
群青与蓝绿在斜向刀痕中翻涌；白色擦痕像月光碎片。夜色下的溪流，不断下潜又发光。
EN
Ultramarine and teal churn along diagonal knife scars; rubbed whites flicker like moon shards. A midnight stream—diving, then shining again.
标题 Title
《冬日山谷的绿意 Winter Ravine, Tangle of Green》
1) Catalog Entry ｜ 作品信息
Series / 系列：Frame and Field（框与原野） —— Ravines & Hillsides 山谷与山坡组
Title / 标题：Winter Ravine, Tangle of Green 《冬日山谷的绿意》
Year / 年份：2021
Medium / 材质：Oil on canvas 布面油画
Size / 尺寸：20 × 16 in
Place / 创作地：Los Angeles area, USA 美国洛杉矶地区
2) Visual Analysis ｜ 形式与画面
The painting is a dense vertical ravine of color, built from heavy impasto and broken palette-knife strokes. A web of diagonal marks crosses the surface, suggesting fallen branches and an uneven forest floor. Deep greens dominate, interwoven with flashes of yellow, orange, red, and turquoise that pulse like pockets of light. The eye is pulled inward along a loose central “V” shape, then climbs toward a pale blue opening near the top, hinting at distant sky or water beyond the thicket.
画面像一条被植被填满的竖向山谷，由厚重堆叠的颜料与碎裂的刀痕构成。层层对角线交织在一起，仿佛倒伏的树枝与起伏不平的林间地面。整体以深绿色为主，其间穿插黄色、橙色、红色与蓝绿色，像隐藏在枝叶中的光斑与能量。视线被中央松散的“V”字形结构吸入，然后沿着画面向上攀升，最终抵达接近顶部的一块浅蓝色，仿佛远处林隙中的天光或水面。
3) Creative Intent ｜ 创作意图
This work observes a modest ravine or slope not as a postcard landscape but as a living tangle. Instead of describing individual trees, it records the sensation of standing very close to the ground—where branches, leaves, soil and light are all pressed into one vibrating field. The artist seeks to preserve that moment when winter has arrived, yet the greens are still stubbornly alive, refusing to recede into quiet browns.
这件作品并不把山谷或斜坡画成“明信片式”的风景，而是当作一团活着的纠结去观看。画面没有细致描写一棵棵树，而是记录一种“贴地而立”的感受——枝干、落叶、泥土与光线，全都被压缩进同一个震动的场域里。作者想保留的是这样一个时刻：冬天已经来到，绿意却依然顽强地存在，还不肯退回到沉寂的土色之中。
4) Technique Notes ｜ 技法与过程
Thick oil paint is laid on with a knife and dragged in multiple directions, creating ridges that catch real light. Short, chiseled strokes overlap wet-into-wet, so colors mix directly on the canvas and form unexpected neutrals between the greens and reds. Scraping, re-applying, and tilting the knife produce a sense of broken bark and tangled undergrowth. The absence of smooth blending keeps the surface raw and physical, echoing the roughness of the terrain.
画面以厚涂油彩为主，多用油画刀堆叠并反复拉拽，使颜料形成真实起伏的“山脊”，在光线下产生强烈质感。短促而有棱角的笔触在湿画层中互相覆盖，让颜色直接在画布上相互撞击，在绿与红之间产生出许多出人意料的中间色。反复刮除、再覆盖，以及改变油画刀的角度，营造出树皮剥落、灌木纠缠的肌理。刻意避免平滑的过渡，使画面保持一种原始、粗砺的触觉，对应脚下崎岖不平的地貌。
5) Spiritual Reading ｜ 属灵解读
In spiritual terms, the ravine becomes an image of a life that looks chaotic up close. Paths are blocked, branches cross in every direction, and it is hard to see where to step next. Yet in the middle of the tangled green a subtle axis of movement appears, leading the gaze toward the small opening of light above. God often meets us not in the cleared, well-paved places, but in the thick of our confusion—where His presence gradually carves out a way through what once seemed impenetrable.
在属灵的观看中，这条山谷象征着一个在近距离看来一片混乱的生命。道路被阻挡，枝杈交错，几乎看不清下一步该往哪里走。然而，在这团纷乱的绿意之中，仍然隐约出现一条视线的轴线，把人的目光缓慢带向上方那一小块光的出口。神往往不是在被整理干净、铺得平坦的地方临到我们，而是在我们最困惑、最纠缠的境况里——祂的同在在其中一点一点开辟道路，使原本无法穿越的丛林，渐渐显出一条可走的路。
6) Wall Label ｜ 展墙
Winter Ravine, Tangle of Green plunges the viewer into the undergrowth rather than offering a distant view. Thick knife-worked strokes build a vibrating field of greens, yellows, and flashes of red, evoking a hillside ravine in early winter where life still refuses to fade. What first appears chaotic slowly reveals a subtle upward path of light, hinting at a way through confusion and a quiet promise of guidance.
《冬日山谷的绿意》把观者直接带入灌木丛中，而非远远俯瞰风景。厚重的刀痕在画布上堆叠出一片震动的绿色、黄色与红色光点，仿佛初冬时仍不肯退场的山谷植被。起初显得杂乱无章的画面，慢慢显出一条向上引导的光之路径，在混乱之中暗示着可通行的道路，也带出一份被温柔带领的应许。
Frame and Field — Golden Thicket (10262021)
《框与原野——金色灌丛》
1) Catalog Entry｜作品条目
Title｜题名: Golden Thicket（《金色灌丛》）
Date｜日期: 10/26/2021
Medium｜媒材: Oil on canvas（布面油画）
Size｜尺寸: 20 × 20 xm1.5 in（约 50.8 × 50.8 cm）
Series｜系列: Frame and Field（框与原野）
Keywords｜关键词: autumn blaze, ochre field, impasto leaves, violet accents, teal sparks, broken branches, diagonal thrust, dappled light, thicket density, earthy warmth, knife textures, rust–gold palette
2) Visual Analysis｜构图与语言分析
中文
通幅以金黄、赭土与琥珀为主调，密集的厚涂形成叶片与腐植的堆积；深紫与墨褐的斜向枝条贯穿其间，构成骨架。散布的孔雀蓝/松石绿像秋叶间透出的冷光与苔痕；中心略偏右的垂直笔道暗示林干/树心，整体呈现由外向内的涌聚。
EN
A field of golds, ochres, and ambers dominates, with packed impasto reading as leaves and humus. Violet and dark-brown diagonals act as branch armature. Scattered teal/turquoise flecks spark as cool light or moss. A subtle vertical near the right center hints at a trunk/core, and the composition surges inward.
3) Creative Intent｜创作思路
中文
我想把“深秋灌丛的炽热与拥挤”压缩为一面触觉的墙：颜色不是涂在物体上，而是直接成为叶层的温度。紫与蓝的冷点让暖调不至于沉闷，像在密林中呼吸的缝隙。
EN
The aim is to condense the heat and crowding of late-autumn brush into a tactile wall. Color does not coat objects; it becomes the temperature of foliage itself. Cool violets and blues ventilate the warmth—breathing gaps within density.
4) Technique Notes｜绘画技法
中文
以赭土底起画；使用重装刮刀与平头笔反复堆叠，形成厚涂板块与撕裂的边缘。枝条以深紫/焦褐直笔穿插，并以刀尖刻线增强方向力；蓝绿高彩用点按与擦出显露下层白，使其如同光斑。最后用干刷轻掠，统一表面颗粒。
EN
An ochre ground underlies loaded knife and flat-brush builds, yielding impasto slabs with torn edges. Branch lines in violet/umber are threaded and knife-scored for thrust. Teal highlights are dabbed and partially wiped to expose ground, reading as light specks. A dry-brush veil knits the grain.
5) Spiritual Reading｜属灵解读
中文
秋的金色像在消退中显出的丰盛：落叶覆盖、枝条裸露，却更看见生命的纹理（约12:24 的隐喻）。密与松之间，那些细小的蓝绿提醒：更新已在暗处发芽（赛61:3）。
EN
Autumn’s gold is abundance revealed in decline: leaves fall, branches show, and the grain of life becomes clearer (echoing John 12:24). Amid density, the tiny teals whisper that renewal germinates in shadow (Isa. 61:3).
6) Wall Label｜展签（精简版）
中文
金黄厚涂堆叠成一面灌丛之墙；紫褐枝线斜切其间，蓝绿火花在叶隙闪烁。深秋的温度，被色与质感同时点燃。
EN
Impastoed golds build a wall of brush; violet-brown branches cut diagonally while teal sparks flicker between leaves. Late autumn’s temperature—lit by both color and texture.
Frame and Field — Blue Road to the Hilltown (07232021)
《框与原野——蓝路入山城》
1) Catalog Entry｜作品条目
Title｜题名: Blue Road to the Hilltown（《蓝路入山城》）
Date｜日期: 07/23/2021
Medium｜媒材: Oil on canvas（布面油画）
Size｜尺寸: 20 × 20 in（约 50.8 × 50.8 cm）
Series｜系列: Frame and Field
Keywords: hilltown grid, cobalt sky, viridian terraces, blue roadway, bold contour, semi-Cubist structure, fauvist palette
2) Visual Analysis｜构图与语言分析
中文
画面以钴蓝天空与深浅不一的绿坡分成上下两域；中央偏左的蓝色建筑体作为地标，与下方蓝色道路形成轴线。通幅以海军蓝/墨绿粗线勾勒，构成“山城格栅”；柠黄与橘红作为高光切入，增强节奏与转折。下方道路的汇聚线把视线引向画心，形成进入感。
EN
A cobalt sky crowns variegated green slopes. A blue building near left-center anchors the scene and aligns with the blue roadway below. Heavy navy/green contours build a hill-town lattice, while lemon and orange accents mark turns and light. Converging lines of the road funnel the gaze inward, creating a strong sense of entry.
3) Creative Intent｜创作思路
中文
我把“驱车上山城”的体验压缩为路径的构成：道路不是配角，而是带领目光与身体前行的蓝色脉络；建筑与梯田以几何切片并置，呈现城市与地形相互嵌套的关系。
EN
The work compresses the feeling of driving into a hilltown into a constructed path. The road—this blue artery—leads both eye and body, while buildings and terraces are geometric plates that show city and terrain interlocking.
4) Technique Notes｜绘画技法
中文
以中冷蓝底铺场，随即用厚涂平头笔块面堆叠；再以深蓝/墨绿直接描边确立骨架。坡地以短促交叉笔触塑出层叠；在屋面与道路上使用刮刀提边留出硬棱。柠黄/橙红直按作为光的节拍，边缘处以干刷与轻度擦拭制造空气感。
EN
A cool blue ground is massed with impasto blocks; direct navy/green outlining locks the armature. Slopes are built with short cross-strokes; roofs and road receive knife-lifted edges for crisp ridges. Direct lemon/orange hits act as light beats, while dry-brush and gentle wipes soften the air at seams.
5) Spiritual Reading｜属灵解读
中文
蓝路像一条被指引的路径：在繁复的格栅中，它提供清晰的方向。山与城同在，提醒人秩序与生命并不对立；“你要在一切所行的事上认定祂，祂必指引你的路”（箴3:6）。
EN
The blue road reads as guidance—clarity through the lattice. Hill and town coexist, suggesting order and life are not at odds. “In all your ways acknowledge Him, and He will make your paths straight” (Prov. 3:6).
6) Wall Label｜展签（精简版）
中文
钴蓝天空下，蓝路穿城入坡；粗线搭起山城的格栅，黄橙跳点像光的路标。进入感强烈，方向被色与线共同点亮。
EN
Beneath a cobalt sky, a blue road threads town and slope. Bold contours grid the hillscape; yellow-orange sparks serve as beacons. A strong sense of entry—direction lit by color and line.
Both man and nature are God's creation and predestination, and the interrelationship between these objects is a creative motif of interest.
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