Signed: Gao Yu 2012 (back)
Unrealistic, Today Art Museum Press, 2012, p.84.
1. "Market Weekly (Art Finance)", the recommended column of the January 2013 issue;
2. "Hi Art", No. 12, 2012, interleaf;
3. "Hi Art" , No. 1, 2013, p.66 & 142.
Unrealistic - Gao Yu Solo Exhibition, Star Space, Beijing, China, 2012.
"'Past life' refers to the education this era has given us, all the backgrounds or perceptions that have shaped us into who we are today. 'The present life of a gangster' is when a person grows up from a boy and finds himself just one of the many beings , all unrealistic self-expectations were consumed and disciplined, and he became required to face a more realistic world, and he entered the real world and saw the reality."
2008 For Gao Yu For Yu, it was a very important year. This year, his works sold for over 1 million yuan in the auction market, making him the most expensive post-80s artist in China at that time, and the only young artist who entered the million-dollar level, making him a star-like market darling. The sensuality may attract young hearts, but it is difficult to persuade the soul of an "anti-realist". In the same year, Gao Yu participated in the group exhibition "Find Yourself" in Star Space. The pressure of the external social environment and the need for her own creative development made the issue of self-examination re-opened until four years later, with the solo exhibition "Unrealistic" in 2012. ”, Gao Yu gave the answer and entered a new stage in creation.
The core work of "Unrealistic", the fourth important solo exhibition of the artist in 2012
"Unrealistic" is Gao Yu's fourth important solo exhibition. The "Prevention of the River", which appeared this time, is the core work displayed on the title wall in the solo exhibition "Unrealistic". The second largest medium-sized work is also the largest medium-sized piece created by Gao Yu so far. In this work, Gao Yu will give an excellent response to his reflections on social reality and self-values in a very personal way of expression.
In the solo exhibition's album of the same name "Unrealistic", Gao Yu looks back on his past creations and compares his old works to "a boy's past life", while his new one is "the current life of a gangster". Paying more attention to the external environment and involving lively social topics in the works are the changes of Gao Yu in the series of "Fighting the River". A piece of work is like a visual commentary. Gao Yu uses himself to measure the reality. The subject matter of ideology shows the true heart of the artist when he was just passing his thirties.
An important turning point for the artist from self-concern to thinking about social reality
In "Preventing the River", Gao Yu reproduces the traditional theme of Dayu's flood control with a very distinctive personal style and visual symbols. In the picture, the protagonist stands on the top of the mountain holding a golden fork, occupying the visual center of the picture, with a backlight, full of pride. The rainbow-colored rivers spew out from the red mountains in the background like beasts, circling under the feet of the protagonist of the picture, splashing the waves, adding a touch of tenderness. On the mountains and rivers in the background, the artist wrote the inscription in the form of calligraphy: "Wangdai, the king who has made great contributions to controlling the water."
This work, like the one that broke the record of one million yuan for the first time in 2008, has the classic composition of a classic painting, with distinct subject and object, and rich elements. Gao Yu uses rainbow colors and scratching mechanism to express the turbulent river flow, and uses white lines to assist, complex but not chaotic. The image of the protagonist in the picture is derived from his classic panda image, making Dayu, a figure in ancient mythology, a little bit more mischievous and mischievous in Gao Yu's early works in addition to his divinity. Gao Yu also uses this traditional allusion to subtly map the social reality with history.
The artist is proficient in borrowing traditional and comics and other diverse nutrients from the ancient and modern works
Comic is the starting point of many of Gao Yu's creations. In the early days, he was well known for a series of cartoon images, but simple image creation was not Gao Yu's starting point , just as his work "Shallowness is not my motto" expresses, behind it is the output of Gao Yu's own values. Especially after 2010, the research on the comics of the era from Shizhai pictorial in the late Qing Dynasty to Zhang Guangyu of the Republic of China and other old gentlemen have added some realistic traditional culture to Gao Yu's works. At the same time, the influence of traditional Chinese culture, including Lao Zhuang, on the artist's "daily use without knowing it" is also an important pillar for the construction of Gao Yu's values. manifested earlier. After entering the "unrealistic" stage, Gao Yu reflected on the shaping of culture and the shaping of individuals in culture, and reflected on the close connection between the current situation of his generation and the contemporary Chinese landscape with a series of works. Although "Preventing the River" depicts the traditional theme of Dayu's control of the flood, it intends to reflect on the underlying logic behind the society's choice of this theme.
The dual shaping of Gao Yu by tradition and comics is also reflected in his habit of writing inscriptions in his paintings. "I have always had the habit of writing inscriptions. The relationship between words and images can be seen from the exhibition in 2010. On the one hand, it is my interest in constantly combing myself and looking back on the Chinese painting tradition. On the other hand, it comes from myself My research on comics is also a typical example of dealing with the relationship between words and images. So I hope to slowly develop it into a creative method of my own." This in-depth research is also reflected in Gao Yu's polishing of the details and textures of the pictures. In Gao Yu’s view, solid painting techniques are the foundation of an artist, “I have gone through several stages myself, at first I didn’t want to pay attention to too fancy techniques or too expressive styles. Hurry up and say what I want to say, so there are paintings that started in 2002. By around 2009, I was attracted by the form again." So since the 2010 solo exhibition "Cheers to the Loser", I have been painting with cloth. Begin to create by mounting acrylic on aluminum plate.
The original special painting technique of acrylic mounted on aluminum plate, a masterpiece collected by the art museum
"Preventing the River" is a masterpiece created by Gao Yu using acrylic and screen printing on canvas. It is the artist's control of his own artistic techniques. A work of extreme challenge. "First of all, we need to make a base, which is an extremely complicated process. I specially went to the lacquer factory in Fuzhou to inspect and made reference to the techniques of traditional Chinese lacquer painting. Basically, how to do lacquer painting is how my painting is. To do it, I looked for a lot of information before, coloring, polishing, and bottom making. You can’t be lazy in one step. This means that the bottom making is about 12 to 15 times. There are two or three steps to polish in the middle, because it needs to be controlled. The color is saturated and the edges are neat, and there will be a lot of repeated adjustments and smears in the middle. The base and sanding ensure that this painting is an extremely flat, delicate and smooth work after completion, and it provides a lot of gorgeousness visually. Then, the effects of brush and ink brush strokes are printed on silk screen, and the final completion. Therefore, there is a list of the production team behind the work, because the process is really complicated.”
《Anti-Proof As an important work of Gao Yu in 2012, Chuan is an explosive summary of his artistic thinking and technique tempering since 2008, and it is also an important turning point in the artist's life and creation. After this solo exhibition, the artist completely ended the "Panda" series of works and entered the long accumulation period of the next stage of artistic creation, until he returned with new works in recent years.