Tang Contemporary Art is honored to announce the representation of artist Fu Yao in the Asia region. The Scenario is the first solo collaboration between artist Fu Yao and Tang Contemporary Art. The show will feature over 20 representative pieces of her creative work in the past decade, selected from four series that create a vivid theatrical spectacle together. By exploring the profound and multifaceted nature of the artist’s creative spirit, all of which is expressed through her captivating and enigmatic imagery.

 

Fu Yao’s paintings contain many unrealistic, symbolic iconographies. Through intricate brushstrokes and delicate textures, she seamlessly combines realism with imagination to create a contradictory dramatic effect. A series of diverse and unique scenarios then smoothly combine these virtual characters with their surrounding environments. The dual structure of reality and fantasy overturns the conventional imagery of any given era- it is neither a traditional Chinese landscape painting nor a classical Western representation; it is not simply an appropriation of imagery, nor is it created according to the conventions of Oriental painting. On the contrary, she handles masterfully the relationships – whether if they are about space or structure – among each element in her paintings, ultimately arriving at a comfortable conflict. By connecting the realms of imagination, symbolism, and reality, Fu Yao leaves the audience with a script that travels through time and space.

 

In this exhibition, the works on display include Fu Yao’s series “Escape”, “Wanderlog Memories”, “A Thousand and Two Nights”, as well as her latest creation, the “Scenario” series. These series collectively depict the artist’s spiritual journey of self-discovery, tracing her path from escape to wandering, and ultimately coming to terms with the transience and impermanence of life. We begin the exhibition with “Escape”, which not only marks the beginning of the artist’s creative journey but also symbolizes the start of a life journey – an escape. Why did she escape? Where did she escape to? What happened later? The artist never provided any narrative explanation for the cause and effect of the “escape”, so we can only search for some possible clues within the images. After escaping, it was a life of wandering, of floating, a liberation from self-imposed limitations, a freedom of expression on the canvas, a soft murmur of brushstrokes, and a further sublimation of the ideal form.

 

At the beginning of “Escape”

“Escape” has an emotional origin, representing both departure and the act of seeking refuge. It reflects the uncertainty that Fu Yao faced when she first embarked on her journey as a professional artist. Her works often depict a romanticized, classical plotline, with natural settings outlined by mountains and rocks, wildflowers and trees, and characters and horses running through them in harmonious coexistence. Fu Yao focuses on the dramatic quality of her artwork, using a personification technique that equalizes the relationship between animals and humans while highlighting their intimate companionship. Her depictions of horses are particularly prevalent in many of her works, reminiscent of a poem by Li He that praises the horse, “this horse is not of the earthly breed, but rather a star from the heavens freed. Though bony and thin it may appear. Its bones, when tapped, ring crystal clear.” This is an incredible poem about horses, which portrays them as human-like beings. The poem draws a comparison between the unyielding qualities of horses and humans, emphasizing their shared tenacity and fortitude. In addition, there is another worth-mentioning image of a “shark” in Fu’s works, which is often portrayed as being carried on horseback. Its fair and smooth skin is eye-catching, and in “Escape-37” (among others), it appears to have evolved “legs” similar to those of amphibious creatures. As a native of the ocean, why does it appear here? Why did it leave the ocean? Is it an escapee too? Perhaps, what the horse really carries is not the shark, but rather the artist's own self, existing within the painting. Moving forward with a heavy load, far away from the ocean, this imagery itself is the best explanation for “escaping”.

 

Undoubtedly, Fu Yao’s artistic creations feature a wide range of animal imagery, to express her innermost thoughts and feelings, while also reflecting the state of individual existence. The notion of “animals” has been historically fused with profound symbolism and significance, as evidenced by the quote from the “Zhouyi (Book of Changes)” that states “to dwell alongside birds and beasts, and to belong to the same family as all things.” This serves to highlight the intimate relationship among all elements of nature, emphasizing their interconnectedness and interdependence. From my perspective, the portrayal of animals and plants in art goes beyond mere rhetorical metaphors. Instead, it reflects the artist’s real-world self, representing the existence of both her true self and her alter ego. As the saying goes, “in every corner of the painting, I am nowhere to be found, yet I exist throughout,” she assumes the role of an observer, examining herself and her surroundings, as she navigates the realm between the ego and the super-ego.

 

In this array of series of works, the contradiction between the hidden and the visible makes the images more intriguing and thought-provoking: despite the barren and desolate landscape of a wild cave, the practitioner can find contentment and inner peace within it, as depicted in “Escape-13”. “Escape-29” portrays a vast and desolate desert landscape, yet a lone crane effortlessly glides through the clouds, defying the barrenness of its surroundings; In “Escape-37”, the artist highlights the unlikely peaceful coexistence of birds, fish, and horses in the same space, despite their natural roles within the food chain; “Escape-21” depicts a crocodile poking its head out of a saddle with an ambiguous expression that seems to be a mix of amusement and something else; rabbits in arms and deer on a saddle, etc. All of these works are vivid and infused with a soulful quality, emanating a serene sense of self-sufficiency, despite the absence of ear-to-ear smiles. Having attained a high level of proficiency in her art, she executes these qualities effortlessly with poise and ease.

 

The “Escape” series took eight years to complete. During this period, Fu Yao dedicated herself to the creation process like a diligent monk, working tirelessly day and night with firm commitment and discipline. The focus was not merely on creating art, but also on cultivating her own inner strength and artistic ability. Subsequently, her artistic creations transitioned into the “Wanderlog Memories” series, which continues the visual language of the “Escape” series. Still drawing upon references from literature and history, the works combine wandering knights, traveling monks, wandering Taoists, and animals that accompany them on their journeys. However, what sets the “Wanderlog Memories” series apart is that it carries a sense of easiness. Eventually, two other series of works were developed, i.e.  “Floating Life” and “A Thousand and Two Nights”.

 

The successive series of artworks reflect the evolution of Fu Yao’s personal habits and artistic creations, but due to differences in time and conditions, they also express different styles. The “Escape” series leans towards an ideal existence that is dreamlike and aesthetically pleasing as if one is spending time in a dream. Some pieces even take on the form of a nocturnal world. Despite feelings of solitude, freedom, and confusion, there is always a forward-looking hope that pulls the viewer in. The “Wanderlog Memories” series is even more surreal. The horses wander amid clouds and mist, playing in a relaxed and carefree manner, crossing boundaries where time seems to stand still. Everything that once weighed heavily in the world now appears to be weightless and fearless. “Floating Life” portrays a group of ethereal figures that emerge naturally and in chronological order, without a main subject or form. Everything exists rationally and logically, following the natural growth and development of each element. The “Journey of Endeavouring” series features relatively small canvases that highlight the personalities of the depicted characters and imbue them with classical sensibilities. The intention is to sidestep the difficulties of modern urban life, and although the paintings are diminutive in size, they contain a wealth of information. The works are whimsical, ironic, self-deprecating, and amusing, reflecting on the artist’s understanding of life itself, as expressed by the saying “the journey is winding and long, but the endeavoring is what counts”.

 

“Scenario” unveiled

Compared to several previous series, the latest “Scenario” series is a watershed to Fu Yao’s artistic career. From the visual aspect, it is clearly freer and more relaxed. After going through stages of “escaping” and “floating”, Fu Yao’s creative expression has ascended to “performing arts”, i.e. “Scenario”. The setting is no longer a contrived man-made landscape but instead features a simple, muted color scheme. The circular stage directs a spotlight on the main subject, while also dividing the space from a structural perspective. The frozen dynamics break free from conventional storytelling and fully separate from any artificial scenery. The abstract geometric elements in this series showcase the artist’s innovative approach on form and composition. A surreal narrative is developed by combining disparate characters and their individual concerns within the paintings. This intermingling of medieval and contemporary, western and eastern, stage and reality, symbol and metaphor, results in a rich tapestry of themes and motifs.

 

In the “Scenario” series, the characters are often portrayed with exotic qualities. They include Arab merchants, ancient nomads, clown attendants and even Marvel superheroes. While these characters may seem disconnected from reality, they are actually quite prevalent in our visual perception. Through skillful juxtaposition, the artist integrates them into the same painting, blurring the distinctive traits of each character and creating a dreamlike, ethereal sense of perception. The “origin” of the characters is fragmented by the composition of the painting and is interpreted through the self-referential effects of splitting and overlapping, creating eventually an absurdity. To me, this absurdity is precisely the central concept of Fu Yao’s “Scenario” series. This includes the subjective awareness of how individuals perceive absurdity, i.e. how to reflect the essence of absurdity through existing visual images. Fu Yao has chosen a gentle approach. Through her artful assembling of seemingly unrelated images in “Scenario-1” and “Scenario-2”, she creates a sense of estrangement by concealing faces behind masks, and deftly shifts between ambiguity and polysemy, resulting in a bewilderment that leaves the viewer grappling for meaning. Actually, the masked figures portrayed in these artworks resemble a cryptic clue. By shrouding their identities with masks, they could embody different personas of the artist herself, or perhaps represent family members, friends, public figures, or even anime characters...Masks have the unique ability to obscure the wearer’s identity, blurring the lines between reality and illusion and making them a complex means for conveying meaning. Fu Yao has deftly leveraged this property in her work, imbuing her paintings with an aura of ambiguity and mystery that leaves the narrative relationship open to interpretation.

 

“Scenario - Five Moons” is a fascinating offshoot of the “Scenario” series, where Fu Yao not only removes the artificial background but also eliminates any traces of human presence, portraying instead animals in their natural form. Through the use of animals as a universal symbolic representation of human existence, she weaves them seamlessly into her own allegorical system. Rather than stripping animals of their natural attributes, she embraces the linguistic ambiguity and cultural richness embodied in the symbolic representation of these creatures. For example, lizards (in “Scenario -Five Moons - 2”) have traditionally been regarded as a symbol of cold-bloodedness and ruthlessness in Western culture. In the so-called liberal arts education from ancient Greece and Rome to the Middle Ages, however, logic was symbolized by lizards; black panthers (in “Scenario - Five Moons - 1” / “Scenario - Five Moons - 3”) embody symbolic attributes of bravery and fearlessness, while also representing a connection with nature and carrying spiritual connotations. Indeed, animal imagery has been a recurring motif throughout Fu Yao’s artistic career. It serves as a mirror of the self, reflecting her introspection on identity and contemplation of perspectives on viewing.

 

Thus, we can confidently assert that the artist, through her brush and imagination, endeavors to create a new allegorical style - one that synthesizes destiny, culture, life, death, existence, and void into a simultaneous panorama. It is a bucolic, yet intelligible painting lexicon that she seeks to impart. As you explore her works, close your eyes and immerse yourself in the idealism reminiscent of Don Quixote, pushing upstream against the absurdity of the world; feel the aestheticism of the rebellious genius Oscar Wilde, resilient and true to oneself despite setbacks; feel the tragic grandeur portrayed in the works of Tennessee Williams, searching for reality within a fabricated world; experience the heroism depicted by Calvino, facing the cruel world with ease and a smile...