Li Yuping
www.liyuping.weebly.com
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Li Yuping was born in Beijing, the capital of China, where she grew up and acquired her early inspiration of art. She received her BA degree in painting at the China Central Academy of Fine Arts, and later studied in the Edinburgh College of art for a MFA. She has participated in many solo and group exhibitions in Beijing, Edinburgh and London. In 2009, she was awarded a landscape art scholarship from Bath & West of England Society. Her painting work Moving Forward was nominated as one of the outstanding artworks for Beijing’s Olympic games in 2008. Yuping’s paintings are currently collected by China Central Academy, Singapore Art Seasons Gallery, Edinburgh Corn Exchange Gallery and Bath & West of England Society, etc.
The most recent work of her focuses on cultural fusion and hybrid as a contemporary visual language through landscape painting, inspired by both the fields of ancient Chinese art theory and contemporary Western painting. Through thinking a Chinese aesthetic concept – ‘emptiness’, her painting on exhibition investigates spatial representation, time elapsing and method of perspective on the pictorial plane. As Yuping explains: ‘Like the binary pair of Yin and Yang in Chinese philosophy, an “emptiness” enables all things that are “full” to attain their complete fullness.’
For her, ‘emptiness’, or the visual blank on painting, has a material nature itself, which is not only a code to unlock the substance of landscapes through different spaces and perspectives, but also a practical methodology to explore the concept of time passing in visual representation. Here, emptiness reveals the painting’s past, and focuses on what is missing and what is remaining to evoke the nature of landscape.
The most recent work of her focuses on cultural fusion and hybrid as a contemporary visual language through landscape painting, inspired by both the fields of ancient Chinese art theory and contemporary Western painting. Through thinking a Chinese aesthetic concept – ‘emptiness’, her painting on exhibition investigates spatial representation, time elapsing and method of perspective on the pictorial plane. As Yuping explains: ‘Like the binary pair of Yin and Yang in Chinese philosophy, an “emptiness” enables all things that are “full” to attain their complete fullness.’
For her, ‘emptiness’, or the visual blank on painting, has a material nature itself, which is not only a code to unlock the substance of landscapes through different spaces and perspectives, but also a practical methodology to explore the concept of time passing in visual representation. Here, emptiness reveals the painting’s past, and focuses on what is missing and what is remaining to evoke the nature of landscape.