NEW YORK, NY.- In this intimate conversation, Chinese-born painter Ruimiao (Amanda) Wang discusses the evolution of her practice from the rigorous, traditional halls of the Pennsylvania Academy of the Fine Arts (PAFA) to the vibrant, contemporary landscape of Manhattan’s School of Visual Arts (SVA). Known for her evocative use of "numb blankness" and a palette of muted maroons and grays, Wang delves into how the expressive distortions of Egon Schiele and the sensory realities of womanhood—from the pain of menstruation to the weight of social invisibility—inform her work. Through a lens that is both deeply personal and analytically observant, she reveals how she transforms the female form into a vessel for the quiet, often unvoiced psychological depths of the contemporary observer.



Q: What first drew you to explore the female form as a central theme in your work?

ANSWER: It probably has something to do with my university experience. I studied at the Pennsylvania Academy of the Fine Arts, which is a very traditional art school. I’ve always loved painting the human body, especially the female form — the muscles, bones, and the way light and shadow shape the colors of the body.

One of my favorite artists is Egon Schiele. I was deeply moved when I first saw his work. His paintings convey strong emotions, focusing on inner feelings while disregarding literal representation. They often distort and abstract reality. The casual, almost careless brushwork, the lack of perspective, and the reliance on intuition over logic — I fell in love with that expressive approach. I hope my own work can also envelop and communicate my emotions.



Q: How did your experience at PAFA influence your understanding of traditional art, and how does that contrast with your work today?

ANSWER: My four years at PAFA fundamentally shaped my entire understanding of traditional art, and it greatly influenced my decision to focus on the human figure. When I first came to the School of Visual Arts in Manhattan, I really struggled because I didn’t have a deep understanding of contemporary art. I found much of it difficult to comprehend.

Fortunately, my time at PAFA gave me solid training in traditional techniques and art history. That education became my foundation. Whenever I look at traditional artworks today, my understanding comes directly from what I learned there. The traditional education I received built the groundwork for everything I’m doing in my artistic career now.



Q: You mentioned being fascinated by “numb blankness” in expressions—what does that emotional state represent for you?

ANSWER:“Numb blankness” is an emotion I personally experience. I often observe the world around me as a small bystander. After emotions are compressed for long enough, what’s left is numbness and emptiness.

In my painting 《Bedroom》,I depict myself sitting cross-legged on my bed, expressionless, deep in thought. That’s a reflection of my daily emotional state.

Q:In what ways do light and color help you communicate the psychological depth of your characters?

ANSWER:Color and light are supporting elements — tools I use to shape and define the human figure. I like using a chaotic yet unified color palette as the dominant tone of a painting. Sometimes a woman’s hand might have a purplish-red bruise or swollen patch, which becomes the only vivid spot in an otherwise gray composition — the one place that feels alive.

My foundation is oil painting, and I love the technique of working “fat over lean.” I’m drawn to heavy, thick blocks of dark color, or a patch of dense, pure color on the cheekbone that stands out as the brightest part of the face. Light and shadow, too, are expressive tools that vary depending on the theme of each work.



Q: Your paintings often portray women as both victims and observers. Can you elaborate on this duality?

ANSWER: When I depict women as victims, it’s never meant to insult them — it’s simply that women, as a group, are often in a more vulnerable position. We carry a lot, often invisibly. At the same time, we are also observers and participants.

In my painting 《03.13.2024》, I depict a woman during her menstrual period, lying naked on the ground against a red-and-brown striped background. She clutches her stomach in pain, her body curled inward. Issues like menstruation, gender inequality, childbirth, and family responsibilities — women are often the ones who bear those burdens. These delicate, often invisible topics have always preoccupied me. I don’t usually discuss them openly, but through painting, I can express them candidly. Women are both participants and bearers — just like myself: hidden within society, yet still observing and engaging with it.

Q: How do you balance personal emotion and broader social commentary in your creative process?

ANSWER: I see myself as an observer, which helps me balance my emotions easily. I have a job now and create art regularly while managing my life. My engagement with social discussions often happens informally — chatting with classmates, gossiping, or joining conversations on social media.



Q: Many of your figures are simplified or faceless—what effect do you hope this anonymity creates for the viewer?

ANSWER: I want it to evoke a feeling of emotional blankness — something open-ended, with no single answer.

Q :How has living in Manhattan influenced your artistic evolution and daily inspiration?

ANSWER: It’s been perfect! My school and the gallery where I work are both in Manhattan. The city is full of galleries and art institutions. I chose to come here because there are more opportunities and a more open culture.

When I was in school, if I heard that one of my classmates was exhibiting at a certain gallery, I’d ask about it and reach out myself — that’s how I gradually built artistic experience. There are also major exhibitions, like at the Whitney Museum, which features works by prominent contemporary artists every year and shows what’s happening in the art world today. I’ve even seen solo exhibitions of artists I love, like Freud and Van Gogh, right here in Manhattan. Being able to see masterpieces up close is incredible. The city’s countless galleries give me endless chances to learn from other artists.



Q: You describe women in your art as “bearers of the world and fate.” How do you translate that idea visually on canvas?

ANSWER: I like to portray women as protagonists — using oil painting to express their spiritual state and emotional weight. My work *03.13.2024* shows a woman during her period, lying naked on the ground against a red-and-brown striped background, clutching her stomach in pain.

Issues like menstruation, gender discrimination, childbirth, and family roles — women are usually the contributors and carriers of those burdens. These sensitive, transparent issues have always troubled me, and I rarely discuss them openly. I want my paintings to present these deeply personal and specifically female experiences in a straightforward, unapologetic way.

Q: What do you hope audiences feel—or question—when they stand before one of your works?

ANSWER: I hope my paintings can carry my emotions, and that viewers can feel them to different degrees. Some often ask me why my figures look blank or numb, or why women are always the central subjects, or how color and composition influence my work.

All these elements revolve around my core theme — they reflect my own inner emotions. I think those are great questions, because for many first-time viewers, my works may seem ambiguous. Their curiosity gives me a chance to express myself more deeply through my art.