YIJIA WU

Touch I

57x80cm

Watercolor, color powder.

Myself I

38x26cm

Watercolor, color powder.

My mother and I

Watercolour

21cm x 15cm

Myself II

38x26cm

Watercolor, color powder.

Touch II

57x80cm

Watercolor, color powder.

Exhibition in July

During this exhibition, I encountered a significant challenge regarding the placement of my works. Since most of my pieces are paper-based paintings with varying sizes, this posed a challenge in terms of arranging them cohesively. Initially, I was uncertain about how to display the works, especially in terms of creating a sense of connection and flow between them. After experimenting with different arrangements, I decided to make use of the design of the exhibition space itself.

I chose to position my works at a corner, which inspired me with a new perspective. The corner wall allowed me to respond to the space by aligning the paintings in such a way that, when viewed from different angles, each artwork revealed a unique perspective. This approach not only gave the works depth but also created a dynamic experience for the viewers. By moving around the space, visitors were able to engage with the artworks in a more immersive way, experiencing the emotional shifts in the paintings from various viewpoints.

This experience greatly enhanced my ability to think about space and how to display my works effectively. It pushed me to consider how the arrangement of pieces can amplify the emotional impact and narrative of the art. The process allowed me to sharpen my skills in spatial awareness and exhibition design, helping me to better communicate the essence of my works. In the end, I was very satisfied with the result. This exhibition provided a valuable opportunity for growth, and I feel more confident in facing future exhibition challenges.

Process

During my painting process, I initially experimented with using stone clay as a frame for the edges of my paper works. The intention behind this was to enhance the completeness and presentation of the artwork, giving it a more structured and three-dimensional feel. However, the result did not meet my expectations, and I felt that the clay frame distracted from the fluidity and emotional depth I aimed to convey in the paintings. As a result, I decided to abandon this approach.

Following this, I shifted my focus to experimenting with the human figure as the central subject. I began to paint individual bodies, then cut them out along their contours, allowing them to interact with the surrounding elements of the artwork in a more layered and dynamic way. This technique added a sense of depth and movement to the composition, creating different levels of engagement within the piece. The cut-out figures, separated from the background, allowed for a more direct dialogue between the painted forms and the space they occupied, enriching the emotional and visual impact of the artwork.

Recent creations

In my exploration of self-discovery, I am drawn to the distorted female nude as a central figure in my artwork. This form represents my resistance to intimacy and the internal conflict that arises from grappling with vulnerability. The distortion in these nudes reflects the way my emotions often feel chaotic and uncomfortable, particularly within close relationships. Choosing the female body—twisted and fragmented—symbolizes the discomfort I feel in exposing my inner self and reveals my struggle with both accepting and expressing vulnerability.

The distorted bodies also capture the tension I feel between outward composure and inner turbulence. Just as the fluidity of watercolor reflects the uncontrollable aspects of my emotions, the contorted forms visually express this internal battle. They make visible my process of coming to terms with the fear of weakness and the challenge of acknowledging my own vulnerabilities.

17x24cm

Watercolor

17x24cm

Watercolor

17x24cm

Watercolor

17x24cm

Watercolor

17x24cm

Watercolor

17x24cm

Watercolor

17x24cm

Watercolor

17x24cm

Watercolor

Recently, my painting practice has focused on breaking away from rigid, fixed imagery, aiming to better express the uncontrollable and complex nature of my emotions, as described in my artist's statement. I want to capture this through the fluidity of watercolor. I began with smaller works, intentionally limiting the time spent on each piece to avoid overthinking and excessive design. My goal was to reduce the impulse to control the painting too much, allowing for a more natural and spontaneous emotional flow.

During this process, I’ve noticed that I am beginning to shape forms through color and line rather than relying on fully defined, figurative shapes. This approach has given me a greater sense of freedom, allowing my emotions to flow more organically on the canvas, without being confined by specific imagery. This experimentation has brought me closer to the emotional complexity I want to convey, while also embracing the inherent fluidity of watercolor. It’s not just a technical shift but an emotional release, enabling me to express myself more authentically and find greater space for personal expression in my work.

27x38cm

Watercolor

31x31cm

watercolor

Additionally, through experimenting with different types of paper, I discovered my preferred material—a watercolor paper that is less absorbent. This paper allows the water to flow in distinct, visible traces, adding a unique texture and depth to the work. It enhances the overall feel of the piece, giving it a distinct quality that aligns with my vision for capturing the fluidity and unpredictability of my emotions.