zhao qi Born in Jin County, Liaoning Province in 1954 He currently works and lives in Beijing
zhao qi would like to call these paintings on small notebooks works. Therefore, this point is emphasized because according to custom. We often call this type of painting “studio”, or shorthand or something like that. What zhao qi don’t understand is, why can’t sketches and sketches be placed in the exhibition halls of art museums such as Chinese paintings, oil paintings and prints?
Zhao Qi work
Outside of zhao qi understanding of painting, I think the work is a kind of narrative and the painter expresses his ideas through the painting. Although these paintings on small books are not “formal” like the works on display, their essence is still something thoughtful.
These paintings are random, sometimes standing, sometimes sitting, sometimes leaning against where. This way, I can see that when I painted. I must have been moved by the image in front of me. Yes, these images are painted in front of the object, it is not an imagination from nothing. ——This is different from other jobs, right?
——All the works are sent with feelings. suddenly I feel wrong to tell this fact. Because some images are also boring when I hold a pen and first draw carelessly. When painting, the picture looks interesting. Painting is indeed a very magical act, we cannot know where the end of the brush is attached.
Contemporary art usually refers to art that has innovated and subverted existing norms in the fields of oil painting, sculpture, and printmaking since China implemented economic reforms in 1979 and opened to the outside world, including photography. Installation.Concept.Performance. Video. Multimedia and other new art forms . The Chinese art circle regards an art exhibition in 1979 as the beginning of Chinese contemporary art history.
Aaajiao is the online handle for Xu Wenkai. Who coined the name in the years he downloaded mp3s from Soundseek and chatroom users. His username chromatic_corner to ‘A Jiao’ (literally in Chinese: corner).
Aaajiao, Deep Simulator, at Tabula Rasa Gallery in London
Aaajiao Deep Simulator
That sense of double play, in which a seemingly straightforward work is laid bare as a labyrinthine critique that feels at once accessible and obscure, comes through, also, in the artist’s latest exhibition, Deep Simulator, at Tabula Rasa Gallery in London (4 June–31 July 2021). The work was first shown in the project room of Castello di Rivoli Museo d’Arte Contemporanea in 2020, marking the artist’s first exhibition at an Italian institution.
Aaajiao, Deep Simulator, at the project room of Castello di Rivoli Museo d’Arte Contemporanea, 2020
In a room set up with a gaming station and standalone. Surreal objects evocative of tree branches rendered by digital algorithm. Aaajiao’s metagame Deep Simulator invites the viewer to partake in a space exploration at once both real and virtual.
Aaajiao, Deep Simulator, 2020
The prime engine
Deep Simulator sees computational power as the prime engine that generates the state of our world. The six possible states of Bardo—a term originated from Buddhism that describes the intermediate state between death and rebirth—can be retrieved by the player via six levels of computational power. “Deep Wanderer,” defined as the protagonist of the metagame, is an amalgamated persona consisting of the viewer of the exhibition, the player at the game station, and the wanderer in the metaphorical journey within the simulation. Upon seeing and being the “Deep Wanderer”, individuals such as us come closer to understanding the truth of our existence.
Aaajiao, Deep Simulator, 2020
Human Identity
As the artist’s continuous reflection on the evolution of human identity along the transformative power of the Internet sphere, the forming of The Player in Deep Simulation is a transmutative process carried out by the artist over the years. It passes through the figure of The User presented on the artist’s solo exhibition User, Love, High-frequency Trading in 2017, and The Bot as an information crawler for the project bot in 2018. The spectator’s ability to see the player playing while awaiting his or her own turn opens up a path to observe an “other” him- or herself, and underlines the controversial notion of the real in the world of new technologies, the Internet and the circulation of digital data.
Aaajiao, Deep Simulator, 2020
It is worth noting that Deep Simulator was specially conceived for the project room of Castello di Rivoli in 2020. Making aaajiao the first Chinese artist to exhibit at an Italian institution. Due to the pandemic, only domestic visitors in Italy were allowed. We hope that through presenting the work for a second time at our London space, the work will be able to reach a broader audience.
Life is a general summary of human beings living in nature and from the past to the present to the future, emphasizing practical effectiveness on the issue of survival. It is precisely because of this practicality that it rejects the essence of art, because the thoughts of art is ineffective in the practicality of life.
The effectiveness of life has established a common sense of normality for us, so that our thoughts and actions are within this clear range of normal consciousness. Practicality and effectiveness are brought into full play in this range. However, the essence of art does not belong to this range.
This kind of normality consciousness will find that we have to give up those normal consciousnesses in the process of fully pursuing ambitious, practical and intelligent goals.
Abandoning the thoughts of normalcy is the beginning of discovering art and also the beginning of artistic creation. In fact, art is the art of perception.
The original intention of art
The original intention of art is to allow perception to regain new perception. It is the perception that is difficult to perceive. It is about the perception method, about the perception outside the existing perspective, about the perception of small accidents in the existing experience, and it emphasizes the methodology.
There are many reasons that hinder our in-depth creation, one of the main ones is too many ideas, too selfish, and too arbitrary.
Art is not a microphone and foil of ideas. Art will shine only when ideas serve art. It is not that art needs to match ideas, but ideas need to match art.
Don’t expect to put your own ideas into others’ heads through art. Because art is not a tool, let alone a conspiracy. Ideas can only become the background, not the protagonist.
Why do we put a horizontal line across the screen, our eyes will immediately show the illusion of the horizon? Is this the effect of gravity on us? Or is our genes conspiring with gravity?
Gravity is the original force on the earth and is closely related to the birth of life. The horizon is a symbol of gravity.
Gravity determines our perception. We perceive the world under the control of gravity, and we perceive the world in the formula of gene propagation and survival.
Our perception is a convenient program edited by genes in order to survive and spread genes. Everything starts step by step, and we are secretly defined as a carrier of communication.
However, in the long journey of human development, due to the residual increment of perception .
The birth of art
The birth of art has gradually become an exception thoughts. It is a bit like a mutation in gene transfer. It can become more and more free from gravitational manipulation.
Survival needs, let yourself become useless for survival, let yourself be yourself. When the purpose of art is art. Art has completed its ignorance of gravity and betrayal of genes.
Presenting the unknown perception is like presenting art. From a certain angle, let yourself be in a kind of uncertainty from time to time, is it not a kind of freedom? This is the question I thought about in the process of creating this batch of works.
Artist: Su Xinping Born in Jining City, Inner Mongolia in 1960 Deputy Dean of the Central Academy of Fine Arts Professor, PhD supervisor
Su XinPing Perspective
Su Xin ping was born in Jining, central Inner Mongolia, and now Ulan Qab City. Where the population was only about 30,000 in the 1960s. From today’s perspective, it can only be regarded as a small town, an adobe house, and a few buildings.
In January 1977, I enlisted in the army. The army stipulates that recruits must train in the company for one year, and can only do painting-related work in the second year.
One day after living in the company for half a year, when I was studying to read the newspaper in the evening. I accidentally saw the news about the admissions of the People’s Liberation Army Art Academy . In the newspaper, which caught my attention.
Su xingping Military art
su xin ping decided to apply for the military arts exam, so I went to the leader of the army to talk about my thoughts. I didn’t expect to get the answer that ordinary soldiers can’t apply for the exam. This kind of answer can hardly hit me. At that time, there was only one way for soldiers to enter university, and that was to retire.
After I was discharged from the army, I went to work at Jining City Cultural Center, and I was able to devote all my energy to review. In May, when it was the day of college admissions and registration.
The only professional schools I could choose were the Tianjin Academy of Fine Arts and the Department of Fine Arts of Inner Mongolia Normal University.
Inner Mongolia belonged to In the North China region, national regulations did not allow cross-regional examinations at that time.
As for why I chose printmaking artist as a major, I think it may be a problem of understanding, because I have painted a lot of black and white illustrations in the army. I think black and white painting is just a printmaking.
Oversea life
I was admitted to the Central Academy of Fine Arts in 1986. At that time, the academic atmosphere of the Academy of Fine Arts was unparalleled. You can see some clues only from my classmates and colleagues. When I was in school. Yin Jinan and I lived in a dormitory.
However, the selection and conversion process of my major did not go smoothly. My master’s research direction was woodcut.
When I saw the last class of classmates painting stone plates, I was still attracted. For the first time.I saw that it can Painting, and can print very subtle changes. I wanted to try it out, so I secretly borrowed a slate from him.
At the end of the teaching inspection. the teacher in the department saw the lithograph I painted and asked who made it. I was a little nervous about being criticized.
The department leader thought that I was more suitable for professional development in lithograph. and the department decided to transfer me to study at lithograph studio.
Su XinPing Gao ming lu
At the end of 1988, Gao Minglu, the curator of the “Chinese Modern Art Exhibition”, came to the Academy of Fine Arts to select works. When he saw my lithographs. he chose two works and invited me to participate in the exhibition.
Today, it seems that the modern art exhibition is a landmark exhibition in the history of contemporary Chinese art. But su xin ping did not have this awareness at all at the beginning. and even before the opening of the exhibition. Su xin ping went back to my hometown in Inner Mongolia to visit relatives.
Only later did I hear about the grand occasion of the exhibition, and learned that on the opening day of the National Art Museum of China. Almost all participating artists were present. The shooting, the sale of shrimps, the washing of feet, and the incubation of eggs. shocked a series of contemporary art acts that challenge ideology.
When kang Jian fei was young, kang Jian feiwas looking forward to the New Year. When kang Jian fei grew up, kang Jian fei was really afraid of the New Year. If summarize the reasons for the fear, there will be more. The most core thing think is because of the fear of time. Generally speaking, a pessimist, and there are so many things kang Jian fei can’t figure out. The world in my mind is different. kang Jian fei like wine, and kang Jian Fei like to drink by myself. When kang Jian fei am drunk, kang Jian fei can see the imaginary world more clearly. That is the other me, maybe that is the real me. I’m more and more afraid of drinking with others, afraid that kang Jian fei can’t control my drunk self and hurt others. kang Jian fei always want to gain insight into the secrets of the world, never believe in established rules, and always feel that there is an invisible line connecting the world.
forward to the New Year
When I was young, I was looking forward to the New Year. When I grew up, I was really afraid of the New Year. If I summarize the reasons for the fear, there will be more. The most core thing I think is because of the fear of time. Generally speaking, I am a pessimist, and there are so many things I can’t figure out. The world in my mind is different. I like wine, and I like to drink by myself. When I am drunk, I can see the imaginary world more clearly. That is the other me, maybe that is the real me. I’m more and more afraid of drinking with others, afraid that I can’t control my drunk self and hurt others. always want to gain insight into the secrets of the world, never believe in established rules, and always feel that there is an invisible line connecting the world.
A child
When was a child, there were not many words from teachers who could remember when was in school. One sentence was said by the head teacher. have to break the casserole and ask to the end, so that have adhered to this principle for many years. If you are facing a math problem, it must be right, but it doesn’t seem to be a good way to face life and society. Seeking truth is an attitude, and the method of seeking truth is self-continuous thinking and practice, but don’t touch society with a truth-seeking attitude. It seems too hypocritical. Some problems will not be solved until many years later. Otherwise, let it go, let it go!reconcile with myself.
If life is a stage
If life is a stage, then each of us must become a certain role. When you are watched, you are an actor, and acting is almost your destiny. There is no permanent banquet in the world, and there is no drama that can be performed endlessly. Before time, everything is a temporary. I believe reconcile with myself in determinism and the alternate causality, just like the sun rising east Xiluo is purely natural.
But all people will pursue the meaning of life, especially these sentimental and awkward artists who draw pictures for meaning, put urinals in art museums for meaning, and even peeing is also in pursuit of meaning. Perhaps the most meaningless part for others is the ultimate meaning pursued by the artist. In the face of time, the meaning will be dispelled, will gradually change, and will be reborn into a new meaning. Freud divided me into id, ego, and superego, but whether it is desire, consciousness, or morality, it still revolves around “I”, who am I? Who is me again?
believe in the laws of the world, reconcile with myself,and that the greatest joy in life is inner peace. Therefore, at the end of this year, I choose to reconcile with myself.
Zhang Hui Graduated from the Mural Painting Department of Central Academy of Fine Arts in 1991 2005 Master of Arts and Design, Minneapolis College of Art and Design Currently works and lives in Beijing
walk in the surrounding
Living in Beijing, Zhang Hui like to walk in the surrounding mountains. Zhang Hui usually leave at 8 or 9 in the morning, sometimes with a couple of friends, sometimes by myself, driving for one and a half to two hours, and there are some routes around 100 kilometers away.
If it is a four- to five-hour route, Zhang Hui will bring something to eat, such as a steamed bun or a biscuits or bean buns, and sometimes a boiled egg. Generally, there is no salted duck egg, which is salty and oily, which is inconvenient. Be sure to bring something sweet, such as a few pieces of candy, two snacks, or two energy bars.
Bring a 500ml bottle of water on cold days, two bottles on hot days, and three bottles in July and August. There are many hills with an altitude of about one kilometer in Beijing, and the general parking place is about 500 meters.
There are only three mountains of two kilometers, Dongling Mountain 2,303 meters, Haituo Mountain 2,241 meters, and Wuling Mountain 2,118 meters. Outdoor hiking has sunshine, sufficient oxygen, and the atmosphere of trees, flowers, and mountains. It is a process of challenging one’s own limits and relaxing and happy.
In the book “What Do I Talk About When I Talk about Running,” Haruki Murakami describes his daily life, running in the sun, eating grilled fish, drinking beer, writing, and listening to music.
It’s a beautiful day. Zhang Hui also like the ending part of his “Norwegian Forest.” Reiko made a hot pot for Watanabe, and they sang while talking about the guitar. They held a “real” funeral for Naoko and played 51 songs in a row. The soul of Super Naoko is also redeeming himself. After that, they “hugged each other as a matter of course” and then made love.
like Bach’s music
Zhang Hui like Bach’s music, religious sense and divinity. Especially his fugue, the chase and escape of notes entangled and flowed. Zhang Hui like Indian traditional music, which is continuous and coming in a steady stream. Like jazz. Like Mahler, especially his ninth and tenth symphony, eternal, beyond death, suffocating.
Schopenhauer said that we are all slaves of our own will, trapped in the desire for food, sex, money, and control. Art is a possible way to save us from the distorted, boring and painful reality. Art can give us. Transcendence, it has such an energy to help us achieve spiritual escape.
Over the years, Zhang Hui have painted several different series: cities, trees and branches, people, colored stones, clouds, grids. There are many journeys and thoughts behind these paintings. Now it is difficult for me to state clearly the background of these thoughts.
Chen Ke is born in 1978 in Tonjiang, China’s Sichuan province. She’s graduated from the Sichuan Academy of Fine Arts, where artists had many opportunities to explore their emotions and instincts. This free environment, alongside cartoons, fairy tales and comics, helped her to build her identity as an artist. After participating in numerous national and international exhibitions, she worked on a variety of media, including painting, sculpture and fashion design. Chen Ke is recognized as the most representative artist of the New Generation of Cartoon of China.
Background
Various images of little girls, representing the core of human nature, flow like a thread through the works of Chen Ke. Although references to the art of comics are evident, when one analyzes her works in more detail, they become visible elements of style of Western masters such as Caspar David Friedrich, as well as the influence of traditional Chinese paintings, creating an exciting tension. Being eager to experience Chen Ke often surprises her viewers. Not only does she produce her own paper, she embroiders canvases with beads, but she also applies oil paint to stretch cotton fabrics that are popular in her childhood days.
Chen Ke sad girl
Chen Ke is considered the most representative artist of the new generation of Chinese artists. Her melancholic paintings, which express the loneliness of growing up as an only child, show digital images made of bright and colorful light from her kaleidoscopic and dazzling imagination. That’s why the artist says: “My characters are somewhat sad, isolated and powerless and this is exactly how I feel sometimes. My art is as real as my spirit.”As classical artworks of Chen Ke, almost every piece of work shows a little girl with a round nose, who is lost in depression, limited to herself, living in an unreal space, and seems to keep a distance from the human world.
Like porcelain paintings
Usually, the sad girl takes up the center of the whole artwork. With the full expression of the blank as well as the grain like porcelain paintings, the artist fully shows the opposition of the reality. A reality that buries the audience in the waves of the sense of unknown sadness. The sad girl seems to be jumping between the virtual world and the reality, which makes the audience lost in the endless loneliness and long distraction.
Chen Ke and Beijing
In her first two years in Beijing, she felt lonely and what she could do was to paint and put her moods into the painting. She believed this is the reason why many people think that the girl in her painting was actually her self. And the girl in her painting grew up with the growth of the artist. She believed her art appeared from her daily life, so she hoped art could enter the daily lives of people.
Chen Ke and Fashion
She thought fashion and art have no differences at the top point. She has cooperated with many fashion brands. In 2008, Fendi invited Chen Ke to join the Fendi special handbags Baguette Anniversary commemorative edition series; she designed a handbag for the series. In 2014, Chen Ke designed for the Vogue FNO series to celebrate the ninth anniversary of Vogue magazine.
Zhou Jun is a contemporary conceptual chinese photographer. He was born in Nanjing Province in 1965 and graduated from Nanjing Normal University in 1990.
His work revolves around construction sites and the relationship between urbanization and the preservation of ancient cultural inheritance.
Zhou Jun
Zhou Jun’s technique
The artist is best known for his series – Scaffoldings; Bird’s Nest project; The Red and the Black – featuring Chinese cities in black and white with overlays of red streamers wrapped around under-construction buildings. Zhou Jun uses large format film cameras to produce negatives, which are scanned, digitally manipulated and printed to produce large unframed photographic works. Built environment is the subject of Zhou’s work in an analysis of China’s rapid and sometimes brutal redevelopment. Created since 1992, his photographs mainly treat the conflicting relationships between Chinese traditional architecture and contemporary buildings while continuously challenging the symbolic nature of the red color.
9th 2007, 2007, Digital C – print, 120 x 190 cm/180 x 286 cm
Expo 2010 Shanghai – China Pavillion, 2009, Digital C – print, 120 x 150 cm/220 x 180 cm
Building progress
The contradictions that are presented when trying to preserve the past in a time of China’s unprecedented economic growth underpin the work of Zhou Jun. During the last thirty years the most striking feature of China’s re-development has been its city construction. Demolition of whole villages to make way for high-rise development is a regular occurrence. The lead up to the 2008 Beijing Olympics saw massive building works and although it transformed Beijing into a modern city entire neighborhoods were ‘moved on’ in the name of progress.
Bird’s Nest No. 2, 2006, Digital C – print, 50 x 60 cm/120 x 150 cm
Zhou Jun’s work embodies a quality of yearning for the past to some extent and this is seen in his photographs of historic buildings from Beijing. He is acutely aware of the expansion of Chinese cities and the loss of traditional architecture. It is the loss of Chinese culture in the pursuit of globalisation.
Phoenix Ancient City, 2011, Digital C – print, 120 x 150 cm/180 x 220 cm
Seeing red
The color red has significance in Chinese cultural memory as it is used for ceremonial occasions such as weddings but it also represents revolutionary communist ideology. It is a reminder of the turmoil of the recent past. Because of this, the wide variety of perspectives of each person means completely different feelings and reactions are aroused by the color red. The partnership between the black and white photographs and the red sections of scaffolding allows the audience to produce their own meanings.
“Hanging Red”, 2009, 120 x 150 cm, Archival Inkjet Print on Fine Art Paper
A word from the author
“The three decades of development China is experiencing – building to a crescendo with the Olympics – are unparalleled in history. The colour red, which I use to highlight specific parts of the photograph, can elicit different responses in people from different countries or cultures – at times, it can even have opposite meanings for people. I want my work to be interpreted differently by people depending on their response to the symbolic meaning of red. In this sense, the work has the potential to reveal international perspectives to common subject matter.”
Zhou Jun also creates sculptural works using porcelain and other materials, always mantaining his distinctive style and his conceptual structure.
A “wounded” porcelain vase, surrounded by scaffoldings
Li Xiaofeng is a Chinese sculptor and fashion designer, born in 1965 in Hubei. His unique work consists in wearable porcelain clothes.
He graduated at the Central Academy of Fine Arts (CAFA)’s Mural Department, and began his activity as a muralist. Then he began specializing in sculpture in order to explore new concepts and expressive forms to apply to the Chinese contemporary artistic scene.
Li Xiaofeng
His sculpture-clothing project is truly original, both for the selected material and the idea of wearable “pieces of armor” that recall Chinese traditional works.
Li Xiaofeng’s creative process
Li Xiaofeng researches and collects fragments of ancient Chinese porcelain recovered from archaeological excavations, dating back to the Yuan, Ming and Qing dynasties: he models and polishes them and punctures them, then sews them together on a leather undergarment through a silver thread, creating a “porcelain fabric”. His meticulous work is a bridge between past and present and a sharp reflection on the concept of culture.
These dresses are fully wearable
Li’s Rearranged landscapes
“Chinese culture” is the basic breakthrough point in Li’s works: he feels a sense of mission for its study and he channels it all in what he calls “Post Orientalism”. Landscape was always a major theme in his large number of paintings created in the past but, instead of simply copying like some other contemporary artists, he had always the urge to rearrange it, in a dynamic dialogue with history.
This extract explains the reason why Li Xiaofeng’s calls his porcelain clothes “rearranged landscapes”:
“Since the time when it was the Mongol Yuan capital Khanbalik to the present day, Beijing has initiated its largest excavation projects of all time and, like a blue snake that has been hibernating for a millennium, the city is now stirring and shedding its old skin. It greedily emerges through the towering buildings, twisting free from the historical sediment of its ancient civilization. Blue-and-white porcelain shards that represent this civilization are unearthed in large quantities at the same time. These blue shards, bathed in the sunny skies of socialism and caressed by the contemporary cool breezes blowing from the west throughout the capital, assume a bewildering array of postures as fashion items entering the new century!
Xi Liaofeng at work
Among his works are women’s dresses, t-shirts and men’s jackets. His first piece in wearable porcelain fragments was “Beijing Memories”, a Mao suit.
MIlitary uniform
Lacoste’s porcelain shirt Li XiaoFeng
In 2010 the world-renowned brand Lacoste commissioned Li Xiaofeng a porcelain polo shirt for men and women for the Holiday Collector series. Unfortunately, a problem occurred: the PRC prohibits the export of ancient artifacts, including old porcelain shards.
Despite that, the artist did not give up and realized the porcelain himself, with the crocodile’s logo attached, and tore it apart only to recompose it into a Polo shirt, one of the most expensive and exclusive items ever sold by Lacoste.
Lacoste’s porcelain shirt-sculpture
The artist also released a limited edition polo shirt, choosing blue and white fragments depicting the lotus flower and drawings of newborns from the Kangxi period and the Qing dynasty. The lotus flower represents rebirth and purity while newborns represent fertility. In that period the mortality rate among children was high and this type of decoration was in great demand in the hope of being a blessing for children.
“Porcelain shards” polo shirt
Li Xiaofeng’s main expositions
2019
Dreaming of Crafts of the Future: Mongyudowon Unfolds, 11th Cheongju Craft Biennale 2019, Culture Factory C, Cheongju
2018
Cracked – Porcelain, Red Gate Gallery
2D vs 3D, Red Gate Gallery
798, We Are Back, Red Gate Gallery
2017
Red Gate on the Move, Red Gate Gallery
Contemporary Dialogues Between Fashion and Art, Zhu Zhong Art Museum
The Silk Road and Celestial Clothes, Taimiao Art Museum
Fusion – The International Exhibition of Contemporary Ceramic Art, Art Museum of Nanjing University of the Arts, Nanjing
2016
Red Gate: The Next 25 Years, Red Gate Gallery
2015
China: Through the Looking Glass，The Metropolitan Museum of Art, USA
2014
5th Tanwan Ceramics Biennale, Taipei County Yingge Ceramics Museum, Tanwan
ST. Start International exhibition of the Chinese Contemporary Ceramic Art, Today Art Museum, Beijing
2013
7th Gyeonggi International Ceramic Biennale 2013 Korea, Icheon CeraMIX Creative Center, Korea
2011
Ming to Nirvana, Red Gate Gallery
2010
Head On, Red Gate Gallery
Width Contemporary Art Exhibition, Museum of Contemporary Art, Beijing
Xu Yu, whose real name is Xu Yu. She said that she started this name because it was a homophonic and poetic picture of her original name, so she uses it now.
More materials to represent the picture to Xu Yu
According to her own introduction, there are many mediums for her paintings, watercolors, colored lead, oil pastels, carbon bars, board paintings, etc. Generally, a material will be changed after a long time, because she always tries to use more More materials to represent the picture.
“Hometown”
At first, I saw Xu Yu write this paragraph on Weibo’s Weibo: “My childhood was in Hangzhou, a small town in a small town in Jiaxing. The farthest place I visited was Hangzhou, when I looked at the province Travelers are envious of the glare of their eyes. When I was in high school, I saw someone going abroad to study abroad. I thought how good it would be if I were to go abroad. I have been looking up at the authors of the books and books since I bought Huaxin, thinking about if one day It ’s good to know them, and I ’d like to be able to freelance one day.
Things come to mind here, the world becomes wonderful. Later, when I went to college, I started to skip classes and save money to travel, and later I fought with my parents After studying abroad, I started to run around the world, and I also became an author of the heart and a freelancer. What ’s even more amazing is that those who I have followed since high school are much better now. Become a friend and a fan friend (speaking of a flower in my heart here).
as long as I do it, I can do it
Once I only dare to think about things, I naturally reflected them into reality a little bit. Not long ago, I had a wish to go to the beach to see the stars Look at the moon. At this moment on the sea breeze terrace, the stars are all over the sky. It seems that as long as I can think of anything, as long as I do it, I can do it. “
“The watermelon field in summer is a beautiful memory of my childhood”
For Xu Yu, painting is not about how skilled you are, but about showing what you want to say. Techniques are physical things, and what you really have in mind does not depend on your skills. Anyone can draw.
“One year I lived in Tuscany, and the small country-style lifestyle allowed me to enjoy the complete life of an Italian.”
Like Xu Yu, she is a cute little girl in the eyes of friends. Her favorite things may be painting and traveling, and occasionally love cooking.
“XuYu is really a childlike girl.”
In the memory of her friend, she was a girl who ran to Sicily with her two schoolbags on her own. The schoolbag was full of equipment needed for painting. “You will be very happy to follow her, she will tell you the story she met on the trip.” My friend said “Because Xu Yu particularly likes to chat with others, I remember that when the Roman tourist encountered her, she came to know a Japanese and Korean Traveling friends have also listened to their stories. It feels amazing! Xu Yu is really interesting and interesting (Courage of the Northeast dialect). ”
“The Beautiful Legend of Sicily”
Xu Yu said: “Every aspect of life can give me a lot of inspiration. Traveling, painting, watching movies, and living in different places. I want to paint too many things every day. I just hate that time is not enough.”
“The Legend of Sicily 2”
She also said: “The perception of live painting is completely different from that of taking pictures.”
“Southern Diary”
“Southern Diary” is her graduation project and the first personal picture book in her life. This book can be regarded as an account of her in the past 20 years.
The inner page of the picture book “Distance”
Xu Yu : Let’s go travel!
In fact, Xu Yu’s painting is the story of her life experience, simple and beautiful. We always have all kinds of messy reasons to disturb our travels, but with Xu Yu’s paintings, we can see the beauty and follow her story line.
At the same time, you can also look forward to the story “Italian Alone” she has assembled for three years.
Will you finally have the urge to say?
“Let’s go travel!”
“Southern Diary”
“Southern Diary”
“Southern Diary”
xu yu resume
Xu Yu, graduated from the School of Art and Design, Zhejiang University of Technology,
Now studying at the Bologna Academy of Fine Arts as a graduate student in comics, and is also a freelance creator,
Now cooperating with magazines such as “Painted Heart”, “Picture Box”, “Middle School Place”, “Children’s Literature”, “National Geographic”, “Traveller” and so on Co-published books “Adventures of Rabichi” and “Distance”. Published works:
In 2017, cooperated with Tomorrow Publishing House to publish “Distance”
In 2017, he co-published “The Adventures of Rabbi” with Red Horse Book
Published a personal picture book “Southern Diary” in 2018 (intimate traveler)
In 2018, cooperated with Le Fun to publish the flip book “Unveiling the 24 Solar Terms”
