Born in the year 2000, Yuyang (Lily) Wei is a young artist based independently in London. Lily’s paintings take inspiration from her upbringing, being raised in both New Zealand as well as China and frequents museums internationally in search of Asian, displaced antiques. The artist has a notable career, exhibiting internationally as well as being shortlisted for both the prestigious Royal Academy Summer Exhibition, and New Contemporaries. The two artworks we will be critiquing today, “Keeping Off the Flies” and “Milk Was Blood Before It Was Milk” were inspired by Sancai horses, a popular item found in tombs of the Tang era in ancient China.
It is obvious from the large amounts found in overseas museums that the horse motif was in high demand during the golden age dynasty lasting from 618-907. However, for many, this will be the first time they see the Sancai horse, a symbol of imperial expansion and conquest, painted onto canvas. Literally translating into ‘three colored’, the Sancai effect on these horses would have been created using a mix of colouring glazes such as cobalt, copper as well as iron. The result, a flurry of blue, warm greens and stunning yellow on a backdrop of creamy off-white clay body is sometimes lovingly dubbed as ‘egg-and-spinach’ by later Western dealers. These marks are seen in both Lily’s paintings, paying tribute to the antique. A dreamy atmosphere surrounds the two artworks, as a muted color palette of soft green or hushed clouds serve as the backdrop to these horses, inviting the viewer to look closer. In “Keeping Off The Flies”, a large fly biting at the neck of the headless horse hints further that its host may not be real, due to the proportions of both animal and insect. Looking at “Milk Was Blood Before It Was Milk” however, a more realistic head with almost human-like eyes gaze longingly into the world outside, with streaks of red and white shimmering tears erupting from its ducts as if caught in a moment of heightened emotion.
Both of Lily’s paintings use elements of texture, form, and color exceptionally well. The carved lines of tears casting out the face seen in “Milk Was Blood Before It Was Milk”, seems etched out using a sharp instrument, such as the blade of a knife. This creates a groove in the painting, both adding a new dimension to the work, but also illustrating a kind of violence to its oeuvre in a way that the intense emotions of the subject seem raw and tangible. Is it sadness? Elation? Thrill? Form can also be discussed between both paintings. It is not difficult to see that their creator is fond of rounded curves, which cut through the still, rectangular canvases like ripples on the surface of a lake. These rounded parts add both an illusion of depth and of flatness, creating complexity. Lastly, the color of Lily’s artworks seem skillfully chosen to convey the mood of a piece. In “Keeping Off the Flies”, a cheerful lime, and parakeet green may be merry, but directs your eye towards the vermin, a fly, which provokes horror and disgust. Back and forth, a roller-coaster of emotions may erupt in the viewer, making for an excitingly confusing experience.
The paintings of Lily Wei leave a strong impression in the minds of their audiences that last long after disengagement. Her works can be deceivingly cheerful and warm, even child-like at first, however their sinister under-tones soon creep towards the surface, giving an emotional punch. Through the awkwardness, there is immense beauty and a desire to connect with those who possess a sensitive soul.
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