Yuyang (Lily) Wei is a Chinese New Zealand artist who currently lives and works in London. Lily’s current painting celebrates the sentiment of being part of the Asian diaspora, exploring the concept of refuge, museum repatriation, movement, and the Hiletes. Since the dawn of her creative career, Lily has been active in the art scene exhibited in spaces such as the White Conduit Project and Bathhouses in London.
Part of Lily’s practice also explores the struggle for antique repatriation from the country/community side of origin. In an increasingly cosmopolitan society, citizens of all nationalities and cultures are becoming local citizens of any country on earth. However, by reducing attention to cultural diversity and promoting homogenization of culture and commercialization of culture, Encyclopedia Museum ignores its own participation in unfortunate historical events. Supporting cruel conquests under the guise of education. Artists foraging London and beyond, search for misguided Asian bone que items and interpret their paths with canvas.
These two themes can be seen being expressed in both paintings that we are about to discuss today. The taste of exilesimilarly She waited for the conversation to end with excellent kindness.
In the first piece, it is 81 cm tall and 65 in length, this medium oil painting sits comfortably in front of the viewer’s face, like a small window of alien dimensions. In the background, you can see an arrangement of sharply painted ceramic tiles. This garden of bold lines and patterns drives the viewer to the main subject before it. What appears to be a mass of flesh, an umbilical cord with veins that completes the blood vessels and connects to the rough drawing of the pomegranate fruit. The simply drawn ant look closest to the audience and the museum display number combine this balanced piece with the balance of work, giving the required balance and stability.
on the other hand, She waited for the conversation to end. Its pioneer has a more personified appearance, a creature that looks like a yellow deer, pointing to its expanded human-like fingers and arms, prepared outside the painting. The animal counterpart on the far left of this artwork opens its mouth with quiet screams and moans. All two paintings display the attributes of the artificial pattern (or domestic environment) that are featured on the right, including the splatter of the flower wallpaper that fills the background of this work. I enjoy the fact that the artist’s paintings are multifaceted, and I invite you to not only reflect on the sights of the world inside, but also to counterminate with the taste of imaginary smells, sounds, and perhaps the characters trapped in the canvas.
After my first viewing of Lily’s painting, I was able to take a step closer and further analyze the effects of her brushstrokes. Overall, the artist’s use of colour looks old, as if the antique had experienced a level of deterioration and distress. Muted green of She waited. It is combined with cadmium found in The taste of exile Remember farmers of well-lived artists, such as Vanessa Bell’s Charleston House and France’s Chateau Lawrence, in the file. The influence of these shades evokes a sense of nostalgia and forgotten passion that is tied to the main themes of Lily’s migration. Plus, Lily’s paintings have a sense of rhythm. Whether it’s flower wallpaper or purple spots, the repeated patterns increase complex visual flow, thus destroying the viewer’s experience of chaotic and dynamic energy. Finally, through the motifs of tables and platforms, I also had the feeling of “display.” By placing her subject on what appears to be a pedestal, we become observers and scrutinize the objects placed in front of us. This configuration seems to evoke an old dance between the shame of being exposed to public scrutiny and the very human need to be seen.
By interpreting and evaluating these two artworks, I believe that Lily’s creation conveys rising emotions through intense colour schemes and unpleasant compositions of subject matter. Memory or its lack of work also serves as the main theme, as viewers navigate the meaning of being an artist and a multicultural individual. In an interview with The Contemporary Art and Fashion Magazine Altiva-9Lily explains that she is “most inspired by Asian crafts found at overseas museums.” With an extraordinary backstory, these worn-out weathered antiques devote her artwork to the “joy of travel” and allow the artist to compare it to individuals from a third culture who have their own living story. I stared at Turnway’s face, estranged She waited. In particular, we can see how this work benefits the development of similar nomadic people. To see yourself in Lily’s art and get much needed verification. This must ultimately be the creator’s intention.
Moving into the future, the artist looks forward to continuing her journey of introspection, but through in-depth research and casual conversation, she gathers inspiration from individuals from the third culture around her.
