Jasmine Gao

1. The inspiration came from a detail shot I took last week at the museum — a close-up of a decaying part of a plant fruit, which was situated next to a healthy one.

2. While drinking soda, I was captivated by the bubbles and took a photo. Later, I mixed watercolor with dish soap, created foam, and meticulously filled an entire page with it to convey the essence of bubbles.

3 & 4. Both works are derived from a small, greenish, peeling fragment of a building that I photographed during a group practice activity at the start of the semester. One was created using acrylic on paper, while the other was made with crayon and pastel.

5. On the left, I enlarged a detail of my gourd rope and reproduced it using embroidery thread. On the right, I achieved a similar effect using colored pencils.

6. I zoomed in further on the gourd rope, opted for oil pastels, filled in the pencil sketch with them, and used the edge of the pastel to depict the frayed strands of the rope.

7. This piece was inspired by a moment when I was painting late into the night. I looked up and noticed the striking contrast between the lit windows and the dark walls of the building across from me.

8. After observing a display board, I selected embroidery threads matching its colors and wove them together. However, I felt the piece should have been larger to be more effective, but I didn’t have enough thread.

9. This also focuses on the display board, but I zoomed in for a more detailed shot and carefully studied its structure.

10. While trying to wipe a stain off my hand, I noticed an interesting texture on the paper towel. I used my phone to take a close-up photo and then sketched it.

11 & 12. Both pieces depict the residue left in the transparent cup I use for washing brushes. I used two different mediums — colored pencils for one and watercolor for the other. The black lines in piece No. 12 represent the texture of the cup.

13, 14 & 15. These three works all focus on the air holes in a biscuit. I discovered these tiny holes in a biscuit I often eat when examining it against the sunlight, enlarged them, and analyzed their structure. No. 15 is an outline traced on tracing paper, using different colors for contrast. No. 13 is drawn with colored pencils and partially colored. No. 14 combines both techniques.

16. This is based on the bottom of my gourd, which I chose to draw repeatedly. I used oil pastels to recreate its rough texture and layered colors to achieve a more blended effect.

For this task, I conceived numerous ideas involving objects, mediums, and colors, yet the final selections emerged through a process that felt both random and interconnected. For instance, while sneaking some small biscuits during the teacher’s lecture, sunlight happened to stream into the room since it was a clear day. Illuminated by the light, I noticed the tiny round holes in the center of the biscuits—likely designed for ventilation during the steaming process. Later, while painting, my attention was captured by the display board on the right, fascinated by the interweaving colors. Then, as I contemplated which painting materials to use, I found myself drawn to the transparent cup I use for washing brushes. The residual pigment stains left on the cup struck me as a form of printmaking. A series of such interconnected observations ultimately culminated in the final artwork. I also experimented with various methods. For example, in one piece, my inspiration came from the bubbles in a soft drink—I took a photo of them and began thinking about bio-fabrics. Lacking the proper tools, I improvised by adding dish soap to watercolor paint, vigorously stirring the mixture with a brush to create foam, which I then skimmed off and applied to paper. I allowed it to dry, embracing the resulting texture. What distinguishes this approach, which I refer to as “talking pattern” and “talking color,” from my previous work is a shift in focus. In the past, I tended to prioritize whether the overall shape accurately reflected the original subject. However, inspired by a recent Tuesday class, I now place greater emphasis on texture and color effects. I find it particularly intriguing to transform limited imagery into unique patterns. Moreover, by reviewing examples from online classes, I’ve gained a clearer understanding of what I currently need—or what I still lack. I am also actively experimenting with combining different mediums to explore new effects.

1. I cut tracing paper into different sizes and shapes, colored them, and collaged them onto a background painted with red, green, and blue markers. This not only created color overlays but also added layers to the piece.

2. I chose to use watercolors and splashed water to create a splattered effect, while using crayons to outline general shapes and textures. This made the overall composition more interesting and the colors more vibrant.

3. I used markers to draw the basic layout and color base, then added some brushstrokes and ‘little figures’ with acrylic markers. For example, while the bottom right was originally just solid blue, there were some pink words slightly to the left—so I transformed those words into ‘little figures’.

4. For this piece, I introduced a new medium—embroidery thread. I used markers as the base, then added texture on the surface with crayons and liners to avoid monotony. After that, I outlined the outside with thread to represent the original signboard frame.

5. In this piece, I first sketched the general outline with watercolors, then surrounded the edges with embroidery thread. I also used double-sided tape in the middle and applied different colors to enrich the composition.

6. Here, I didn’t pay particular attention to the overall color scheme. Instead, I used slight contrasts between black and white and color—for example, the bottom left is entirely black and white with a touch of blue above it, or the top left where a large black emoji stands out among a group of multi-colored ones.

7. For this artwork, I abandoned color entirely. Originally, I planned to make it a pure line drawing, but I didn’t want the lines to appear monotonous or rigid. So, I used markers in varying shades to add color based on the original hues.

8. For this piece, I selected only a small portion of the original. My main goal was to express the letters through different colors and to create a contrast between the background and the colors. The thread on the side was added because I felt the piece was a bit dull—so I attached it in a twisted form for interest.

9. This is the only piece that used calico fabric. I first crumpled tissue paper into irregular shapes, dampened them, and pressed them onto the paper. Then, I applied masking tape to the fabric and used the same method to color smaller fabric pieces before collaging them on top. This was an experiment for me.

10. In this work, I used almost all the art materials I had on hand. My main idea was to create collisions between different colors and textures. For example, the combination of watercolor, acrylic marker, marker, and crayon on the left represents a clash of both color and texture.

11. This was inspired by a building I saw while accompanying a friend to the restroom during my practice—each floor was covered in spray paint. Drawn in by its colors, I used a wide range of hues in this painting and employed crayons to convey the rough texture of the wall surface.

12. For this work, I tended to ignore the original shapes and focused more on color. I applied watercolors in broad areas, then filled in the letters and brushstrokes with acrylic markers.

While working on the “TALKING COLOURS” project, I contemplated many scenarios and mediums for expression. For instance, I thought about the walls I pass by when visiting acquaintances or the locked walls at subway station entrances. However, I ultimately chose a signboard covered in stickers and painted marks. I believe this is not just art and design from different people but also an expression and release of their inner emotions. When selecting materials for the artwork, I first chose basic supplies such as crayons, watercolors, and markers. I also incorporated threads, as I think people use such methods as an outlet for release when constrained by rules and limitations. Additionally, I opted for a fluid and unrestrained approach to express free and casual lines and shapes. While I aimed to use contrasting colors as much as possible, I still retained my habitual preference for coordinating within the same color palette. One of the pieces was created using calico fabric. Interestingly, my thoughts on freedom led me to associate it with unrestrained expression, which inspired me to use Velcro as a medium. I adhered masking tape to the surface of the fabric and then cut smaller pieces of fabric into various sizes, painted them, and attached them to the surface. This not only allows the pieces to be detached and rearranged freely but also adds an element of playfulness. For many of the artworks, I used watercolors to paint the background and splashed water to create a splattered effect. This technique enhances a sense of rebellion and untamed expression.

Screenshot of computer wallpaper