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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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