Face In Green is a compelling synthesis of Modern Figurative art and Abstract Expressionism. The painting features a centralized, stylized human countenance that emerges from a complex layering of pigment. Dorjderem leverages his background in contemporary Mongolian art to balance the anatomical form of the face with a deep, psychological exploration of color and texture.
The subject is rendered with a sense of fluid movement, blurring the lines between the “Nude” form—often a core pillar of his work—and a purely abstract study of the human head. The “face” is not a literal portrait but rather a vessel for the dominant monochromatic theme.
Color Palette and Technique
As the title suggests, the work is a masterclass in the versatility of green. The palette ranges from:
Deep Forest and Emerald: Used to create shadows and structural depth.
Chartreuse and Pale Mint: Employed as highlights that catch the “light” across the brow and cheekbones.
Subtle Earth Tones: Occasional breaks of ochre or muted greys provide a grounded contrast to the verdant primary scheme.
The artist utilizes a heavy, textured application of oil paint. Visible brushstrokes and perhaps the use of a palette knife create a tactile, sculptural surface. This technique allows the “Face” to feel as though it is being carved out of the canvas, reflecting the themes of freedom and identity prevalent in Dorjderem’s 2007 solo exhibitions.
Style and Emotional Impact
The painting sits at the intersection of the artist’s established styles:
Abstract: The features are deconstructed, prioritizing emotional resonance over photographic accuracy.
Contemporary: The bold, singular color choice and large-scale dimensions (80 x 60 cm) give the piece a modern, impactful presence.
Figurative: Despite the abstraction, the essential humanity of the subject remains, evoking a sense of stoicism or quiet introspection.
Face In Green stands as a significant example of Dorjderem’s mid-2000s period, capturing the experimental energy found in his “Aphorism in Art” and “Freedom” era. It represents a departure from traditional Mongolian realism, opting instead for a universal, avant-garde language of form and color.
