Zejing Yan

The inspiration for all my choices stems from my surroundings—I observe lakes and forests in the woodland. I collect fallen leaves, pinecones, and pieces of wood scattered on the ground, along with half-eaten apples and leftover carrots—these are the everyday elements in my paintings. Based on their inherent colors, I redefine their value, reconstruct their composition, and select all colors through my judgment of present-day objects. Take, for instance, a half-eaten apple left untouched for a long time. I observe how oxidation transforms it—from a whole shape to a gaping bite. Exposed to air, time leaves its mark in color—a charm that belongs to nature. That’s why I cherish this imperfect apple.
I deeply appreciate vibrant, living colors. I believe these varied hues collectively form the unique character and essence of an object. I trace the contours of plants, then etch the shadows of their forms beneath the objects themselves. Most of my paintings draw their hues from nature’s authentic palette, while a smaller part: fallen leaves, trees, branches—these faded remnants—I reflect in red—the very meaning of life’s existence. In my understanding of colour, red represents life’s natural decline, with new life coming to take its place.
During the painting process, I enjoy dissecting them by looking closely. When painting, I often focus just on the objects without paying attention to what’s already on the blank paper. This allows me to better immerse myself in nature itself. I become absorbed in the artistic conception, discovering more natural details while observing their textures and feeling their tactile qualities. I feel fully invested in this process. Naturally, this is something I learnt in course.