He has always maintained an independent artistic spirit, and this single-minded temperament comes from his painting practice, from the pleasure and self-esteem brought to him by on-the-spot sketching.
There are two kinds of paintings, one is the pursuit of attractiveness, the aftertaste is long, the more tasteful; the other is like a strong eye punch, with visual shock. Most of Shi Yu's paintings belong to the former type. Dai Shihe, who is also a professor at the Central Academy of Fine Arts, talked about Shi Yu, saying that he was simple and simple, and that his works always had a sense of freehand, loose generalization, no stickiness, not much brushwork and a deep artistic conception, which should belong to contemporary oil painting literati paintings.
Ganges Festival 01, 20x30cm Oil on paper, 2020
Ganges Festival 02, 20x30cm Oil on paper, 2020
Ganges Festival 03, 20x30cm Oil on paper, 2020
Ganges Festival 04, 25x35cm Oil on paper, 2020
The Slumber of Varanasi on the Ganges, 70x150cm Oil on canvas, 2017
The Sacrifice of the God of Varanasi on the Ganges, 80x180cm Oil on canvas, 2017
Growing up in Beijing, Shi Yu was admitted to CAFA undergraduate and graduate school from the Central Academy of Fine Arts Affiliated High School, and stayed in the Academy of Fine Arts to teach after graduation, under the influence of the academic school represented by the Central Academy of Fine Arts. His father was a professor in the Department of Industry of Tsinghua Academy of Fine Arts and a member of the "Anonymous Painting Society", and firmly believed that sketching was the closest way to nature, which made Shi Yu, who had lived in the atmosphere of the Anonymous Painting Society since childhood, also hear about his father's artistic ideas. When Shi Yu was a child, his favorite thing was to ride his bicycle around the hutongs and visit the Shichahai Sea, carrying a small oil painting box and a few pieces of handmade oil painting paper behind the car, and painting anytime and anywhere when he saw the scenery he liked.
Assisi Church, oil on paper, 50x60cm, 2019
Athena on the Aegean, 120x80cm Oil on canvas, 2017
Kong Ya, oil on canvas, 250x130cm, 2019
His oil painting landscapes are far different from ordinary study sketches. Those works taken from the old streets and alleys of Beijing are not limited to the detailed description of the rubble of the houses, but firmly grasp a taste, and the peace and lightness of beijing life runs through every stroke of the work, which makes his works full of a sense of vitality, those almost flat large color blocks, intermittent color lines, between flat and three-dimensional shapes, turning decay into a magical charm. Isn't it true that art can move people with genuine devotion and sincere expression?
Tricycle Driver, 80x60cm Oil on paper, 2020
Beijing Night, 160x150cm, 2010
Graffiti VIII, 40x30cm, 2014
Graffiti VI, 40x30cm, 2014
Graffiti XV, 40x30cm, 2014
Shi Yu's color vocabulary is not an Impressionist thing, the color is not earthy; nor is it a fake foreign devil, very Chinese. It not only pays attention to the sincere expression of self-psychology, but also pays attention to the refinement of artistic language, which has a strong appeal. He uses exaggerated colors, plain scenes, and freehand brushes to vividly reproduce the simple emotions of everyone in the city. Through the works, we can vaguely see the heart of a young artist who is full of passion for life and does not lose his composure.
Fire Dance-1 oil on canvas, 2021
Fire Dance-2, oil on canvas, 2021
Listening, oil on canvas, 200x200cm, 2021
Qing, oil on canvas, 2021
"Beat" oil on canvas 2021
Flowing Ancient Rhymes, 140x200cm Oil on canvas, 2019
"Flowing Shadow Puppet of Ancient Rhyme", oil on canvas, 80x200cm, 2018
His paintings focus on people, places, times, and spaces in reality, and see the self and the society in which he lives from the landscape. As a result, the childhood hutongs, streets, bus stops, villages, beaches, Indian monks, one after another urban night scenes, left their hometowns again and again, and were recorded by him in the form of sketches and re-creations, like still-frame silhouettes, omitting the depiction of details and the laying out of the environment. "Great beauty and self-simplification", in his view, is not so "accurate" brushstrokes and color relationships are closer to his inner artistic contemplation.
Walker 14, 90x60cm Oil on canvas, 2013
Walker 17, 90x60cm Oil on canvas, 2013
Walker 21, 90x60cm Oil on canvas, 2013
Nowadays, idly walking on the street, without obstructing traffic and not hindering the view, Shi Yu also wants to paint, and naturally, the scenery in front of him has become brushstrokes and colors. On the surface, it is a combination of color and shape, but in fact it is a careful, serious but not deliberate novel, and you can slowly read it to understand the ups and downs of the plot and colorful characters.
"Stormy Night in Victoria Harbour", oil on canvas, 200x450cm, 2020
"Lijiang City Under the Jade Dragon Snow Mountain", oil on canvas, 280x80cm, 2020
The Site of Gabrianon on the Lake of Galilee, oil on canvas, 50x150cm, 2018
Straits-1 oil on canvas, 2021
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