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37000 EUR

Flowers are Crying, 2021

Price

37000,00 €

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Artwork offered by

Single piece Signed Dated Titled

Size

255 x 280 x 4 cm
100.39 x 110 x 1.57 in

Reference

f6c9dd4a

Year

2021

Medium

Paintings

Category


  • About the work

Oil on canvas.


About the Artists

1987 Beijing, China

Su Yu is a Chinese artist born in 1987 who lives & works in Beijing in China. He was an old student of prestigious art teachers as Shi Liang & Chen Danqing at Oil Painting Institute in Beijing.

In June 2012, he was admitted to the Graduate School of the Institute of Chinese oil Painting in the Research Institute of the Chinese Academy and was instructed by Professor Shi Liang. He has won the Austrian Culture Excellence Award (the highest award) at the Graduation exhibition.  

The work Portrait of Four Beauties was collected by the Academy and won a high scholarship.

In 2014, he won the honorary prize in the Oil Painting Institute and the works were exhibited at the Academy.

In 2014, he joined the Contemporary Oil Painting of Objectives Research Association.

In October 2015, he participated in the Nomination Exhibition of China's Innovative Artists in the 2015 “Art Water Cube” Painting and Calligraphy Exhibition. His works were exhibited at the Water Cube E Art Museum. The work Past and Toady are collected by the E Art Museum.

In May 2016, the contemporary oil painting exhibition of the Oil Painting Institute was held at the 1+1 Art Center.The work Traditional Bondage was privately collected, and the work Fireworks was collected by the 1+1 Art Center.

In 2017, he joined the Beijing Jinshangyi Art Foundation.

In 2018, he participated in the Beijing E Jinghua Young Artists Oil Painting Exhibition and his works were exhibited at the National Water Cube E Art Museum.

In 2018, he participated in the "half of the country" national tour.

In 2019, he held “Ordinary Perspective” solo exhibition at Beijing 798 International Art Exchange Centre.

Now he studies and works at the International Contemporary Oil Painting of Objectives Research Institute.

Honestly, it’s not always easy for me to appreciate the works of young painters without relying on my past experiences and artistic preferences. For one thing, I have no reason to overthrow the already established value judgments; for another, the experience-tested judgments are indeed more convincing. From this perspective, I like Su Yu very much! I'm very proud of him.

With the capabilities of independent thinking and judgement as well as a sharp and tenacious mind for art, he shares a clearly defined art value and a conscious self-construction awareness. Respects are shown to traditional spirits and language values in terms of artistic expressions, with the realistic criticism and warm compassion pervading in spiritual and emotional expression. Inspired by the real world, all his works are credibly based on emotions, disdaining to sugarcoating or illustrating the reality in a cheap and vulgar way.

The reality he perceives is also what he respects, which is regarded as the basis of his artistic creation and expression. Without exaggeration, misinterpretation, and affectation, he controls the tone of his own art with the same attitude to life, and seeks the touching pieces of art in ordinary life. With his mind beyond the secular world, he looks up at the stars, while walking solidly on the ground. Starting from reality and his own heart, he wins himself dignity with his life's beliefs, his passion for painting, his uncompromising will, as well as his diligence for artistic works.

The future of a young artist is defined by artistic pursuits, artistic thinking and judgment abilities, artistic values, persistence, and stress-handling capability. Most importantly, talents must serve as the foundation of all these factors. You will do nothing but sigh in front of a genius. Two physiological reactions are noticeable when Su is painting, staring eyes and sweating hands. His studies in painting were barely decent. His basis of painting derives from the unprofessional basic education, as well as his passion for painting from childhood. His zest for shapes and colors as well as the worship for masterpieces are an outlet for his hormones as a little boy. His overall strength amazes me, forcing me to dismiss the cliché of measuring the level of paintings from the level of education. The truth has been repeated over and over that practice makes perfect, and I’m a loyal believer. But I have more faith in the cream always rises to the top! His style of drawing presents a tangible and interesting trend, and the color is calm and brilliant. The sense of casual ease can be felt in the scene. And most importantly, he has begun to tell his own stories with his talents. That's right! I am talking about you, Su Yu, the talented.

Previously, I have praised Su as a genius. There are two kinds of people, who practice diligence redeems stupidity, and who easily can get things within reach, while Su is the combination of the two. The same spirits, in one’s youth, can be felt from Liu Xiaodong and Zhao Bandi, my school mates. After many years, Su Yu, another young man with similar talents, can also create overwhelmingly stunning works effortlessly. Chen Danqing, a famous Chinese painter, once spoke highly of him as as a big shot. Two years ago, he sketched at a demolition site at a heat, with the emphasis on the spirit and shape, as well as the exhibition of complete flexibility. Merry and dizzy, he smoothly swung his brushes with bright colors, which already seemed quite proficient and professional. The continuous accumulation of life experiences in recent years has greatly improved the dimension and depth of his artistic thinking. The power of his works and the expression of the actual meaning are more powerful and clear. With more profundity in the content of his works, he tries touching upon all aspects of life. The language ability of painting is naturally promoted by the artistic thinking and the formation of self, full of vitality, the power of life and the diligently striving vitality. With faiths, feelings, ideals, and responsibilities, he fully realizes the traps and temptations in his art career, with the courage to abandon current secular interests in face of everything. As a positive force, he is also a rare active factor in the current social and artistic ecology.

The problem of art, is first of all, the problem of human beings. Wherever there is life, there is a problem. Artists use their own perceptions to find pain points, discover problems and ask questions, providing the artistic creation of visuality and thinking space with his most natural and unique artistic ontology language. In this sense, Su Yu is a young artist with great potentials, which is in line with the contemporary figurative art concept. The Centre for Chinese Contemporary Figurative Art will be rejoiced to introduce such an artist!

I wish the exhibition can attract widespread thinking and attention!

Shi Liang, 2019


Painting and I
My father is a small antique dealer, while my mother is a housewife as well as a Christian. My lingering unforgettable childhood memories were the two Chinese painting books given by my parents who arduously tramped the antique market just for seeing my fondness for painting. Almost every painting in the book I liked very much were imitated by me with a pencil. Those copies were put up on the wall and given to my teachers and relatives. I could vaguely remember that I was in elementary school or junior high school. Another case was that my mother, who once took me to watch the movie "Michelangelo", was concerned about heaven, hell, and Jesus, while I paid attention to the Sistine Ceiling Frescoes and David, and was even determined to become like a Michelangelo-alike master. 
In the context of the overall education scenario, the Chinese art college entrance examination shocks the whole world. The art examination is an inevitable test for every art student.

I was no exception—either giving it up or arduously sticking it out! Fortunately, instructed by a high-level teacher, I persisted to the end, without taking the entrance examination. I got excellent scores in my sketch and color exams, while failing to be admitted to the Academy of Fine Arts with unsatisfactory marks in cultural courses due to my undisciplined and indulgent learning attitude.  There was a time when I was unwilling to mention my sad memories of the art test, but now I has no regret. 

After going to college, I have always believed that art does not only exist in the School of Fine Art, so I have never given it up. I devoted myself in studying the paintings of European masters and copied them.  For a couple of years, as I have remembered, I spent almost every night copying the sketches of those masters. About seven or eight years from high school have witnessed my study on the sketches of masters. There are at least one hundred meticulous copies, while the hasty ones are countless. 

The energy of my basic modelling and colors broke out after exercising numerous sketches ever since I came to study in the Oil Painting Institute. My gift of painting was first discovered by Professor Shi Liang, who helped me to win the highest award with all affirmative votes from my teachers during the graduation exhibition. Meanwhile, Professor Chen Danqing gave a high appreciation to my works. At the graduation ceremony, Yang Feiyun, President of the Institute, personally presented me with awards and scholarships. However, I did not feel like an artist at that time, totally unaware of art, and just feeling my overflowed passions not properly positioned. 

It was not until the instruction of Professor Shi Liang that I began to touch upon all the artist-level aspects. He not only treated us as students, but also as artists, respecting the inner worlds of every one. The significance of his influence is self-evident. I would not have achieved such a success in painting without the teaching and inspiration of Professor Shi Liang in art, as well as his help in life as a senior. 

The five years after my graduation from the Oil Painting Institute saw me most prominent improvements in art. Getting married, giving birth to and raising my baby during this period, I experienced the triviality of life, with difficulties and joys. The same experiences happened to my paintings. My painting begins with self-examination, from focusing on my own stories to demolition. The topic of demolition never leaves my mind in the past ten years. Demolition had been mentioned in my life since high school and was constantly talked about over a decade since then. The issue of dividing money and houses was also involved while the process was not a light lift, taking over ten plaguing years. Later, the house of my wife’s family as well as our studio house in Beijing were both removed. Therefore, demolition is not only a topic of my own, but also a topic of China. In the process, I gradually found my own identity, feeling that painting was more interesting than before. 

New sympathetic chords were stricken by my transition of identities due to my marriage and delivery of a baby. Those bitter memories will become an extremely precious soul in my creation, making me feeling "painful" and sharpening my mind. The source of creation constantly rushes out, while I don't want to stop, as it will be more "painful" when I stop. Therefore, sometimes the canvas becomes my emotional expression, and even catharsis. So all your thoughts become what you most want to paint, as they are too close to you. Feeling painful, I will extend my view to the present pains of other people, and unveil the truth of things. This is not because I am a pessimist, but that I do not want to avoid the truth, as it is about the "human issue". A case was that I once had my newly born daughter immunized, while several non-local women laborers were carrying their children in their arms, waiting outside at the door, with anxieties and worries in their eyes.

Quite interestingly, the nation-stirring "vaccine incident" happened just one year after my painting of this scene. From this perspective, I put a mixed bunch of people or things around me into the cores of my paintings. Painting is not about the national art exhibition or selling, but about the unforgettable memory and love. 
The best response from artists is their works, rather than languages. It seems that we are too obsessed with languages to forget the identity of artists—the most authentic purpose of art. After the emergence of the Impressionism in the late 19th century, artists sought more possibilities in their paintings and continued to innovate in their languages. Referring to their history, you will find that they were not simply looking for or studying a language. Standing on their own land, every artist had a new understanding of their era.

What did they want to bring to the society with art? However, what they brought were not the kind of beauty in the general sense, which even did not meet the taste of the public, but a deep-level expression after reflection, rejection, conception and creation. Only at that time would the language become bloody and fleshy. Throughout the history of European art, different eras cultivated different artists, who studied, understood, respected and even betrayed traditions. Art came out of the war in history. In fact, everyone should have independent thinking, let alone artists? Whether it comes to the world, to humanity, to the present, or even to the art, we should be more honest, rather than numb. 
I know that I am already on the road, I hope that my state of painting can always continue. Life is a shuttle, and an artist's golden stage will not be long-lived. Let us cherish all of this. 
Su Yu October, 2019


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