<h1>Spreadtrum</h1>
Exhibition Name | Yaotai Mirror - Exhibition of Liu Yao's works
Organizer | China Academy of Arts
The exhibition time is | May 8, 2019 - May 19, 2019
Opening time | Wednesday, May 8, 2019 at 15:00 pm
Exhibition location | National Art Museum of China (Hall 4, 1st Floor)
Artist - Liu Yao
<h1>Biography</h1>
Liu Yao, graduated from the China Academy of Arts with a Ph.D. degree in 2014, and is currently working at the Gongbi Painting Research Institute of the China Academy of Arts.
Yaotai Mirror - Exhibition of Liu Yao's works
Invitation
Whether in heaven or on earth,
But they are both real and unreal in their respective worlds.
All the realities and dreams that shine into the horizon,
Only beauty can be replaced,
Yaotai mirror.
——Liu Yao
Dreamwalker, 100x50cm silk
White Nights 100x50 silk
Beauty should be pure, and the so-called aesthetic is not about mannerism, which seems to have become the criterion for her to resort to beauty. In Liu Yao's paintings, it is almost impossible to see the rich background of flowers and branches and brilliant and rich colors, and the single shadow of the figures in the paintings is only placed in a hazy and illusory and staged indoor space, surrounded by a light and warm gray tone. There is always a soft light shining, in the deep twilight, silent and deep night. The light sprinkled on their bodies, reflecting the clean and transparent complexion and the white and feminine face. Her paintings still adhere to the content structure of the flat treatment, and almost do not do the white-style highlight treatment in the depiction of the faces of the characters, but only rely on the layers of pale colors layer by layer, creating a hierarchical relationship in the gray tones of cold and warmth, light and dark. At the same time, in the use of color, it does not do too much stacking, still takes the light gray tone of the ink texture as the main body, and blends with it with a light and thin monochrome. This kind of expression is more restored to the main framework of traditional Chinese painting, and the main body of the figure is supported by the relationship of depth of field, and the distance between the perspective relationship law of Western language is pulled away with extreme restraint.
Excerpt from Xu Li, "Situational Expression and Personalized Presentation in Liu Yaogong's Realistic Character Painting"
"The Night Is Like the Beginning", 70x50cm silk
Fat 100x50 On Silk 2013
"Beautiful Curtain Color", 189×155cm, silk color, 2015
"Beautiful Curtain Color" is one of Liu Yao's representative works. A number of female figures are designed in the picture, and the plot of makeup and dressing up behind the scenes is not common backstage scenes. The female combination of makeup under the magnesium lamp changes delicately under the influence of the light source, or is hidden in the light and shadow, or blends with the light in a haze, and the character combination image contains cheerfulness and concentration. The two figures in the foreground are one with one back, and the combination with the back forms an S-shaped streamline composition, presenting an orderly viewing angle. The overall picture displayed in front of the viewer's eyes is tense, calm, natural and orderly, reflecting another kind of beauty behind the stage and the sense of rhythm behind the scenes. The layout of the picture is soothing and the space is reasonable. A large purple-gray area laid on the slightly empty ground stabilizes the whole picture, exuding a harmonious and beautiful artistic atmosphere. In terms of styling, the characters shown in Liu Yao's pen are pure and elegant, and the posture is exquisite, showing the beauty of women with different personalities and different faces. The color relationship of the picture is stable and elegant. The fine rendering, tiled background color and harmonious echo make the picture unconventional and have a unique aesthetic taste. Liu Yao's brush is out of tradition and has personal characteristics, the clothing pattern organization is dense, the texture and brush are combined with the exquisite portrait, and the hair outline shows his ability to practice tradition for many years, outlining the new aesthetic pursuit of contemporary brush strokes and the artistic charm of exuding personality.
Excerpt from He Jiaying - "Liu Yao's Gongbi Character Painting"
"Nothing but Ordinary Ruo", 138×68cm, color on silk, 2015
Floating Dreams, 165×66cm, color on silk, 2017
In Liu Yao's mind, traditional Chinese paintings have different production techniques and creative techniques, but the humanistic spirit they convey is consistent. As far as the system is concerned, whether it is the so-called ink freehand or heavy color, Chinese painting creation belongs to the freehand system. The former is slightly heavy in shape, and the latter seeks meaning in the neat shape. The two techniques are both different and interrelated. In artistic practice, many ink creations borrow brushwork techniques and vice versa. Many artists with an exploratory spirit also strive to open up two techniques and find a new physical expression language. In the field of gongbi painting, Liu Yao is an artist who dares to break stereotypes and innovate in this regard.
Excerpt from Shao Dazhen's "Technique and Style At The Same Time — Liu Yao's Gongbi Character Painting"
Dark Incense, 60×20cm, color on silk, 2014
Ruosi 2018 silk 60x45
Xinjiang Dancer, 2018 silk, 53x45cm
Morning Rhyme NO. 2, 60×45cm, color on silk, 2017
"Morning Rhyme No. 3", 60×45cm, color on silk, 2017
"Morning Twilight One", 60×45cm, silk color, 2017
Twilight III, 60×45cm, color on silk, 2017
Qing Yi, 60× 45cm, color on silk, 2017
One of the Dark Nights, 60×45cm, color on silk, 2017
Night No. 3, 60×45cm, color on silk, 2017
Beijing Moxuan Zhenpin Art | produce
It is strictly forbidden to operate pictures commercially
The copyright belongs to the author
Violators will be prosecuted