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Yangon artist Thomas Aung employs a vibrant, expressive style that blends elements of portraiture with abstract expressionism. His vision of Grace is a young woman with dark hair and rich, warm-toned skin, rendered with visible brushstrokes that convey a sense of movement and energy. Her expression is contemplative, almost pensive; she rests her chin on her hand, suggesting introspection or, perhaps, nervousness.

Aung's technique is impasto, using thick layers of paint to create texture and depth. The colors are bold and saturated, primarily in shades of purple and red, which are juxtaposed with contrasting strokes of black, blue, and yellow in the background to create a visual dynamism that contrasts with the more focused realism of the portrait. The abstract background almost resembles graffiti with stylized characters in a chaotic energy field, suggesting a complex internal world or external environment with cultural layers surrounding the woman.

This integration of Grace within the abstract setting creates a powerful visual tension, suggesting a synthesis of the internal and external, the personal and the societal for an overall effect that is both visually arresting and emotionally resonant.

Aung was a student at Union College when painting Grace as part of a bold, vibrant portrait series which exudes thoughtfulness and reflection of both the subjects and their portraitist. He hails from Yangon, Myanmar, a city with a confluence of cultural, religious, and architectural heritages.

In the words of the artist: “This body of work aims to connect viewers with their own fragmented memories of the people that they are close with and to self-reflect on the importance of the relationships they created. My artworks play with juxtaposing elements of realism and abstraction in order to evoke emotions.”

Yangon artist Thomas Aung employs a vibrant, expressive style that blends elements of portraiture with abstract expressionism. His vision of Grace is a young woman with dark hair and rich, warm-toned skin, rendered with visible brushstrokes that convey a sense of movement and energy. Her expression is contemplative, almost pensive; she rests her chin on her hand, suggesting introspection or, perhaps, nervousness. Aung's technique is impasto, using thick layers of paint to create texture and depth. The colors are bold and saturated, primarily in shades of purple and red, which are juxtaposed with contrasting strokes of black, blue, and yellow in the background to create a visual dynamism that contrasts with the more focused realism of the portrait. The abstract background almost resembles graffiti with stylized characters in a chaotic energy field, suggesting a complex internal world or external environment with cultural layers surrounding the woman. This integration of Grace within the abstract setting creates a powerful visual tension, suggesting a synthesis of the internal and external, the personal and the societal for an overall effect that is both visually arresting and emotionally resonant. Aung was a student at Union College when painting Grace as part of a bold, vibrant portrait series which exudes thoughtfulness and reflection of both the subjects and their portraitist. He hails from Yangon, Myanmar, a city with a confluence of cultural, religious, and architectural heritages. In the words of the artist: “This body of work aims to connect viewers with their own fragmented memories of the people that they are close with and to self-reflect on the importance of the relationships they created. My artworks play with juxtaposing elements of realism and abstraction in order to evoke emotions.”

Grace by Thomas Aung (Myanma / Burmese) - Oil on canvas / 2017 - Mandeville Gallery of Union College (Schenectady, New York) #womeninart #art #oilpainting #portrait #ThomasAung #womensart #MandevilleGallery #UnionCollege #portraitofawoman #BurmeseArt #MyanmaArt #artwork #AsianArtist #YangonArtist

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A white woman, a Burmese man and two Burmese women standing in front of three paintings - the first is abstract and the other two are portraits of Burmese women with Burmese script behind them by artist Htein Lin. 

Left to right, the people are curator Melissa Carlson, artist Richie Nath, former ambassador Vicky Bowman, me, writer Dr Ma Thida.

A white woman, a Burmese man and two Burmese women standing in front of three paintings - the first is abstract and the other two are portraits of Burmese women with Burmese script behind them by artist Htein Lin. Left to right, the people are curator Melissa Carlson, artist Richie Nath, former ambassador Vicky Bowman, me, writer Dr Ma Thida.

Me speaking with my hands spread out in front of me while Vicky Bowman looks at me

Me speaking with my hands spread out in front of me while Vicky Bowman looks at me

The panel seated in front of three Richie Nath paintings - left to right is me, Vicky Bowman, Dr Ma Thida and Richie Nath

The panel seated in front of three Richie Nath paintings - left to right is me, Vicky Bowman, Dr Ma Thida and Richie Nath

Fun and lively discussion about Myanmar identities at our panel last night for Karin Weber Gallery hosted by the Coningsby Gallery

Thank you to fellow panellists Dr Ma Thida Sanchaung, Richie Nath, and Vicky Bowman, and moderator/curator Melissa Carlson!

#MyanmarArt #BurmeseArt

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Fun and lively discussion about Myanmar identities at our panel last night for Karin Weber Gallery @1999KWG hosted by @ConingsbyG

Thank you to fellow panellists Dr Ma Thida Sanchaung, Richie Nath, and Vicky Bowman, and moderator/curator Melissa Carlson!

#MyanmarArt #BurmeseArt

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