Installation View, Artwork ©余曾巧
"虚伪的审美背后残留的是空虚，就像我的作品⼀样，画面的艳丽和意义的晦涩背后就是直指的这种空虚。"
在Yuna今年的两张新作里，我看到了有些诙谐的“迷你人像”，诡异也戏谑。在平面性和诗歌般的叙事里，Yuna更多的是赋予图像和物体⼀个不存在的个性与特征，营造出或忧郁，或不⾃然，或麻⽊，或张扬的⽓氛，并提供一些线索和隐喻以实现情绪的链接。
In Yuna's two new works this year, I see some humorous "mini portrait," which are freaky and banter. In the flatness and poetic narrative, Yuna tends to imbue images and objects with non-existent personalities and characteristics, creating an atmosphere of melancholy, unnaturalness, numbness, or flamboyance, and providing clues and metaphors to achieve emotional connections.
Death by the sea, 90x180cm, Oil on canvas, 2023
从十四岁开始独自留学，她就在自我探索中面临着不断升级的生存挑战，这也促成了她解构和重建个人艺术。从读书时清晰的边界和相对具象的表达，到今年，用场景的再造传达出摸棱两可的信息，来搭建集体潜意识的桥梁。
Starting from the age of fourteen, she embarked on a solo study abroad journey, facing escalating challenges of survival in her self-exploration, which also led to the deconstruction and reconstruction of her personal art. From clear boundaries and relatively concrete expressions during her studies, to this year, she has used scene reconstruction to convey ambiguous information, in order to build a bridge to the collective subconscious.
In That Cave With Artificial Lights On, 200x160cm, Oil on canvas, 2018
在英国读书期间，Yuna的表达更加具象和明确，而从作品“Untitle”开始，逐渐向着抽象和朦胧的方向发展。她从电影、音乐、诗歌里寻找情绪支点，在画幅尺寸间寻找呈现形式上的节奏感。
While studying in the UK, Yuna's expressions became more concrete and clear, but starting with the work "Untitle," she gradually evolved towards an abstract and obscure direction. She sought emotional anchors in films, music, and poetry, and looked for a sense of rhythm in the presentation between different canvas sizes.
Untitled, Oil and pastel on canvas, 200x110cm, 2019
回到北京，Yuna在老胡同区选定工作室进行创作，抛弃从外界事物上摄取情绪，更多关注自身主体性的表达。她自己也说“我会在创作中去认证⾃⼰，去确认，剖析，再深化到研究，解读，最终还是会落脚在哲学，⼼理学，社会学这些地⽅⽽回观过来，像螺旋⼀样。”
Upon returning to Beijing, Yuna chose a studio in the old alley district for her creations, abandoning the extraction of emotion from external objects, focusing more on the expression of her own subjectivity. She herself said, "I will authenticate myself in creation, confirm, analyze, then deepen into research, interpretation, and ultimately it will still settle in philosophy, psychology, sociology, and looking back, it's like a spiral."
Unpredictable Weatherwoman, 180x150cm, Oil and gold foil on canvas, 2021
Yuna的作品有很多是组画，而且尺寸相差很大，在呈现上会产生一种节奏感，画面更多的是场景的再现，借助过往的物件和场景，去唤起人们的共同感受，思考存在与虚无、情感与脆弱之间微妙的关联。
Many of Yuna's works are series of works, and the sizes vary greatly, creating a sense of rhythm in presentation. The images are more about the reenactment of scenes, invoking common feelings through past objects and scenes, pondering the subtle connections between existence and nothingness, emotion, and fragility.
Over-exposure series, Variable size, Mixed media, 2023, ©余曾巧
A Night of lightning and thunder, 140x200cm, Oil on Canvas, 2023
用“迷你人像”代表人脸，更能强调意识的作用。离远看基本不会发现，但走近又会发现场景里有一个诙谐、诡异有点戏谑的小人埋在其中，像一个调皮的小惊喜。它的存在成为了线索，保留了情感本身的摸棱两可的美感。Yuna说“这也算是一种黑色幽默的表达”。
Using "mini portrait" to represent human faces emphasizes the role of consciousness. From afar, it's almost unnoticeable, but up close, a humorous, strange, and somewhat freaky figure is hidden in the scene, like a mischievous little surprise. Its existence becomes a clue, retaining the ambiguous beauty of emotion itself. Yuna said, "This can also be considered a form of black humor."
Scarlet, 100x80cm, Oil on Canvas, 2023
Q：作品大多是一些日常场景的再创造，你认为在现实中的直接经验和画布上传递出来的心里景观的间接经验之间还存在着什么呢？
A：存在着⼀种诗歌般的叙事性，传达出模糊的，模棱两可的信息。这种可⾔⼜不太能直⾔的信息在画布上以线索的⽅式呈现出来。场景带出对时间与空间的回忆，在画布上的重现和停留即是对过往的再次解读也是搭建集体潜意识的桥梁。
Q: Most of your works are recreations of everyday scenes. What do you think exists between direct experiences in reality and the indirect experiences conveyed through the canvas?
A: There is a poetic narrative, conveying vague and ambiguous information. This elusive aspect of communication is presented on the canvas through subtle hints. The scenes evoke memories of time and space, offering a reinterpretation of the past and building bridges to the collective subconscious.
Late Night at Shanghai, 160x160cm, Oil on canvas and pastel on paper, 2021
Q：聊聊你对创作中表达集体潜意识的看法，这是你的创作的重心吗？你认为在当代艺术中这个问题仍然重要吗？
A：对于集体潜意识的探究⼀直暗含在我的作品⾥，画⾯本身就是⼀个视觉传达的媒介，⽽我的作品往往传递给观众的是某种对于意义解读的不确定性，这种不确定性来⾃对象对熟悉象征的联想与解读，⽽这个解读范围的偏差始终是在⼀个集体认知的范畴之中。⽽拿捏和塑造具备这种含义的图像，场景，和叙事就是我的⼯作。我仍然认为集体潜意识这个议题在当代艺术中是重要的，或者说是不可避免的，虽然它本身不太具备常规当代艺术议题所带有的攻击性，但却可以与⽂化，审美，神学等做回朔研究。
Q: Let's discuss your perspective on expressing the collective subconscious in your creations. Is this a central focus of your work? Do you believe this theme remains relevant in contemporary art?
A: The exploration of the collective subconscious has always been implicit in my artworks. The canvas serves as a visual medium, and my works often communicate a certain ambiguity in interpreting meaning, arising from the associations and readings based on familiar symbols. These interpretations remain within the realm of collective cognition. Shaping and embodying images, scenes, and narratives with this meaning is my artistic endeavor. I still consider the theme of the collective subconscious as important in contemporary art, perhaps even inevitable. Although it may lack the conventional aggression associated with typical contemporary art themes, it can lead to retrospective explorations in culture, aesthetics, theology, and more.
Installation View, Artwork ©余曾巧&马若骢
Q：你的作品总是有一种跳脱感，是否有一个词或底层逻辑可以串联你的作品吗，这种不受限的存在也可以被概括在内吗？
A：每件作品背后的底层逻辑还是在捕捉社会⽣活背后的扭曲，悲伤，暴躁，诙谐的情感，我觉得这是我的创作情感⼤主题。场景，画⾯，⾊彩都是⼯具，我的⼤情感逻辑是统⼀的。在创作表达上是有形式和⻛格的不同，这个算是我个⼈的⼀个迷思吧，固然我明⽩早点确定下来统⼀的表达⼿段和标志性特⾊有助于市场的发展，但就个⼈艺术⽣涯的试炼，我还是很享受这种“跳脱”的，慢慢的也会统⼀下来，但把这个尝试的时间线稍微拉⻓⼀点我觉得不⻅得是⼀件坏事⼉，⼼急吃不了热⾖腐。
Q: Your works always have a sense of detachment. Is there a word or underlying logic that connects your pieces, including this unbounded existence?
A: The underlying logic behind each artwork is to capture the distorted, sorrowful, irritable, and humorous emotions beneath social life. I believe this emotional theme is the core of my artistic expression. Scenes, compositions, and colors are all tools to serve this purpose, and my primary emotional logic remains unified. In terms of artistic form, there might be different styles, and this becomes somewhat of a mystery for me personally. While I understand that early consolidation of a unified expressive approach and distinctive colors would be beneficial for market development, I find it enjoyable to embrace this sense of "detachment" for a while. Eventually, it will gradually come together, but extending the timeline for this experiment isn't necessarily a bad thing. Rushing might not yield the best results.
艺术家伦敦工作室, ©余曾巧
Q：是如何将扭曲暴躁的情绪通过积极的语言形式表达的呢？
A：我的画⾯的⾊彩整体来讲是偏梦幻的，甚⾄有些还算得上明艳，这是⼀种伪装，对于暴躁情绪的伪装。扭曲和暴躁的本质通过虚伪和衰败的图像⽓质浮现出来。⽽这本身也是我对于⾃身或者说是对回忆，共情，社会⻛⽓，⼈性的⼀种解读。⽽这种虚伪的审美背后残留的是空虚，就像我的作品⼀样，画⾯的艳丽和意义的晦涩背后就是直指的这种空虚。
Q: How do you convey twisted and irritable emotions through positive language forms?
A: The overall color scheme in my paintings tends to be dreamlike, even bordering on vibrant, which serves as a disguise for irritable emotions. The essence of distortion and irritability emerges through the air of falseness and decay in the imagery, which represents my interpretation of self, memories, empathy, social atmosphere, and human nature. Behind this artificial aesthetic lies emptiness, much like my artworks, where the vividness of the canvas and the obscurity of the meaning point directly to this void.
Installation View, Artwork ©余曾巧
Q：在审视个体在现代生活中产生的矛盾和复杂情绪的时候，你同时也会对自我有更多的认知吗？这种输入和输出是否有明确的顺序呢？
A：会的，毕竟每幅画我觉得达到那个完成的点的时候是有某种情感输出到位了才完成。其实没有明确的顺序，更多是⼀种来回的共鸣，某⼀个时间阶段的某⼀个群体所携带的共性情感，我也会在这个过程中去认证⾃⼰，去确认，剖析，再深化到研究，解读，最终还是会落脚在哲学，⼼理学，社会学这些地⽅⽽回观过来，像螺旋⼀样。
Q: When examining the contradictions and complex emotions that individuals experience in modern life, does it also lead to a deeper self-awareness? Is there a clear sequence between input and output?
A: Yes, indeed. Each artwork feels complete to me when a certain emotional output is fully expressed. There is no clear sequence; it's more of a resonating back and forth. The common emotional traits carried by a certain group at a particular time stage also lead me to self-affirmation, exploration, analysis, and further studies, eventually delving into philosophy, psychology, and sociology, and then reflecting back like a spiral.
Installation View, Artwork ©余曾巧
Q：对你来说女性视角意味着什么呢？经由女性视角会有哪些特殊的观察吗？
A：意味着作品体现出的主体性更强，浑然天成。在情感的捕捉方面会更细腻⼀些吧。
Q: What does the female perspective mean to you? Are there any special observations that come through the female perspective?
A: It means that the artworks display a stronger and inherent subjectivity. Emotionally, it allows for a more delicate capture of nuances.
Lollipop Munchkin In The House, 180x150cm, Oil and gold foil on canvas, 2021
Q：作品中的复古感和怀旧感是来源于哪里呢？意味着什么呢？
A：本身我的绘画在其表现形式上，技法，材质上都是更“往回”看的。这也是绘画在当代艺术中所展现出来的⼀种特性吧。因此所带来的复古与怀旧感⾃然会出现。在内容和元素上我也倾向于往回审视，我对于⽂化，艺术，审美的探究是基于过去的。
Q: Where do the vintage and nostalgic feelings in your artwork come from? What do they signify?
A: In terms of artistic expression, techniques, and materials, my paintings are more inclined toward a backward-looking approach. This is a characteristic that painting exhibits in contemporary art. Thus, it naturally brings about a sense of vintage and nostalgia. In terms of content and elements, I also tend to look back, as my exploration of culture, art, and aesthetics is based on the past.
Installation View, Artwork ©余曾巧
Q：你是有很刻意地避开这些日常场景中对具象人物的刻画吗？画面中略带诡异的小脸是一种普世化折射的方式吗？
A：对，这是我刻意避开的，我经常剔除了具体⼈像在作品⾥的出现，但会把他们的存在转换成⼀些线索，例如诡异的笑脸，表情等。这算是⼀种⿊⾊幽默的⼩表达，戏虐扭曲。淡化了⼈物的存在，强调意识的作⽤，当某个⼈物形象变得过于具体的时候，就会打破那种模棱两可的美感。这也是回归我创作了的⼀个统⼀逻辑，游离在具体和模糊之间。
Q: Do you deliberately avoid depicting representational figures in these everyday scenes? Are the slightly eerie small faces in the paintings a universal way of reflection?
A: Yes, it's intentional. I often eliminate the presence of specific figures in the artwork, but I transform their existence into clues, such as eerie smiles, facial expressions, and more. This can be seen as a dark humoristic expression, teasing and distorting. By downplaying the presence of people, I emphasize the role of consciousness. When a specific figure becomes too concrete, it can disrupt the ambiguous beauty. This represents a unified logic in my creations, oscillating between the concrete and the vague.
余曾巧（L）马若骢（R）, Installation View
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