Here are some street scenes she painted of Beijing. They are composed of near-abstract intersecting lines and feature an interplay between the yin and the yang, a representative subject within an abstract frame. In this couple of works, the painter dropped a subtle cold-warm contrast in the exquisite “Beijing grayness.” Impressively, on these canvases we see no orange, nor its complementary color blue-purple. All she employed is different degrees of gray, yet manages to give us brilliant sunbeams. Such is a demonstration of her mastery of colors. Then, in scrutiny of the details, the pigments have been precisely smeared, rather than repeatedly touched up. For Juane, “smear” and “touch up” are distinct verbs. What she does is apply pigment onto the canvas only once—“smearing”, letting the viewer feel the dab: a brick. It is different from a “brick” made by repeated touching up. This pigment-applying technique separates her from most other painters.  

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