Tagawa, Alexandros Sigaras, Kenneth Eng, Olivier Elemento, Andrea Sboner, Elisabeth I. Plymate, Heidi Dvinge, Roberta Ferraldeschi, Penny Flohr, Susana Miranda, Zafeiris Zafeiriou, Nina Tunariu, Joaquin Mateo, Raquel Perez-Lopez, Francesca Demichelis, Brian D. Gaviola, Carrie Sougnez, Manaswi Gupta, Evan Y. Reuter, Anuradha Gopalan, Jianjiong Gao, Massimo Loda, Rosina T. Cooney, David Smith, Christine Brennan, Javed Siddiqui, Rohit Mehra, Yu Chen, Dana E. Bradley, Jake Vinson, Xuhong Cao, Pankaj Vats, Lakshmi P. Pritchard, Gerhardt Attard, Himisha Beltran, Wassim Abida, Robert K. Lonigro, Juan Miguel Mosquera, Bruce Montgomery, Mary-Ellen Taplin, Colin C. Van Allen, Yi-Mi Wu, Nikolaus Schultz, Robert J. Lambros, Antje Neeb, Veronica Gil, George Seed, Leon W.M.M. So the truth is present as a state of perpetual change: never graspable and always fleeing.Christina Guo, Mateus Crespo, Bora Gurel, David Dolling, Jan Rekowski, Adam Sharp, Antonella Petremolo, Semini Sumanasuriya, Daniel Nava Rodrigues, Ana Ferreira, Rita Pereira, Ines Figueiredo, Niven Mehra, Maryou B. The answers remain open and vary according to each viewer’s social background and life experience. The paintings do not pretend to deliver one universal truth. ![]() In that sense, Yu is trying to convey the immense contrast between the configuration of personal identity and the reality of life. While looking at those innocent baby faces in the paintings, their expression and their clothing are a surprising contrast to what viewers used to seeing. These are easily identified symbols in contemporary Chinese art. Her work is full of obvious references to popular culture: a red five-pointed star, a octagonal hat, a Mao look-alike face etc. Although, her subject matter puts forth an innocence, that is infused with an ironical overtone through her use of military uniform and her babies physical likenesses to Chairman Mao sometimes they are playfully portrayed with sweeties and ice-creams in their chubby hands other times they are satirically portrayed as an irked enfant terrible. ![]() Through various techniques and symbolism with her palette of bright brash reds, her work depicts a raw emotional quality. Yu’s baby motif overtly frank, in keeping with the unabashed nature of childhood. ![]() The artist stated through the image of the infant, she could make discoveries about herself put her life into perspective and discover the various roles she plays in this life. ![]() She complements unusual color tones by sticking ornaments on the cap or the uniform lapels of her figures. In “Red Babies” series, Yu uses a coarse canvas surface and applies her colors in thin layers. Second, she is not obsessed with painting technique. First, she abandons the richness and meticulousness that are typical of female painters and the regular topics of still life and familial scenes. There are two interesting features about the work of Yu Chen. 1988 Central Academy of Fine Arts, CHINA,ġ981 Guizhou Art Institute, Guizhou, CHINA
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