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于方

Yu Fang
1989油画12 件作品收录

简介Biography

于方(Yu Fang)是一位成长于全球化浪潮与本土意识觉醒交织年代的青年艺术家,始终在跨文化的缝隙中寻找独特的视觉语法。其创作以麻色素胚为基底,将绘画推向介于壁画、雕塑与织物之间的中间状态。此前,于方的“洞喻”系列以园林与雕塑为基本母题,借助太湖石的结构逻辑对西方古典雕塑进行解构与重组。在最新个展“亚努斯之门”(2026年,又生空间)中,于方以古罗马双面神之名串联最新系列作品,新作中园林的窗洞与假山消失,取而代之的是一种“看不见的墙”,素胚粗糙而温暖的质地成为阻隔与显现并存的无形屏障,纤维肌理替代了传统画布的平滑表面,使每一笔颜料的附着如同壁画在墙面上的沉积,既有时间的包浆感,又有织物的呼吸感。这种基底的选择,让于方的油画获得了介于壁画与绢本之间的暧昧质地,画面仿佛是从墙面上生长出来的故事。

Yu Fang is a young artist who grew up in an era interwoven with the tides of globalization and the awakening of local consciousness, consistently seeking a unique visual grammar in the crevices between cultures. His practice employs raw linen grounds, pushing painting into an intermediate state between mural, sculpture, and fabric. Previously, Yu Fang’s “Allegory of the Cave” series took gardens and sculptures as its basic motifs, using the structural logic of taihu rocks to deconstruct and reassemble Western classical sculptures. In his latest solo exhibition “The Gate of Janus” (2026, Yousheng Space), Yu Fang uses the name of the ancient Roman two-faced god to connect the newest series of works; in these new pieces, the window openings and rockeries of gardens disappear, replaced by an “invisible wall,” where the rough and warm texture of the raw linen becomes an intangible barrier in which obstruction and manifestation coexist. The fibrous texture replaces the smooth surface of traditional canvas, making each stroke of pigment adhere like the accumulation of a mural on a wall, possessing both the patina of time and the breath of fabric. This choice of ground endows Yu Fang’s oil paintings with an ambiguous texture between mural and silk scroll, as if the images are stories growing out of the wall.

代表作Selected Works

于方《洞喻-被俘的普洛塞庇娜》
洞喻-被俘的普洛塞庇娜
布面油画 · 160.0×120.0cm · 2024
于方《帏之刃》
帏之刃
布面油画 · 150.0×120.0cm · 2026
于方《洞喻-赫拉科勒斯战人马》
洞喻-赫拉科勒斯战人马
布面油画 · 150.0×120.0cm · 2024
于方《勒达与天鹅》
勒达与天鹅
布面油画 · 125.0×100.0cm · 2025
于方《朔弥》
朔弥
布面油画 · 125.0×100.0cm · 2026
于方《灵与爱》
灵与爱
布面油画 · 125.0×100.0cm · 2024
于方《泰坦》
泰坦
布面油画 · 120.0×90.0cm · 2025
于方《引诱》
引诱
布面油画 · 100.0×100.0cm · 2025
于方《丘比特》
丘比特
布面油画 · 100.0×80.0cm · 2025
于方《洞喻-海德拉》
洞喻-海德拉
布面油画 · 100.0×80.0cm · 2023
于方《洞喻-丽达与天鹅》
洞喻-丽达与天鹅
布面油画 · 100.0×75.0cm · 2024
于方《琉璃》
琉璃
布面油画 · 100.0×75.0cm · 2026

展览履历Exhibitions

艺见洞察ArtMatters Insights

代表作与创作Selected Works & Style

### 代表作(据平台艺术家档案)

于方近年以“洞喻”系列和“亚努斯之门”系列最具代表性,主要作品均为布面油画,例如:

- 《洞喻-被俘的普洛塞庇娜》(2024)

- 《洞喻-赫拉科勒斯战人马》(2024)

- 《洞喻-丽达与天鹅》(2024)

- 《洞喻-海德拉》(2023)

- 《勒达与天鹅》(2025)

- 《朔弥》(2026)

- 《灵与爱》(2024)

- 《泰坦》(2025)

- 《引诱》(2025)

- 《丘比特》(2025)

### 创作特点(据平台艺术家档案)

于方的创作常被归入具象艺术、浪漫主义与表现性具象范畴,常用媒介为布面油画、丙烯及综合材料,关注人物、情感、生命、自然生态、记忆与时间等主题。

其创作以**麻色素胚为基底**,使绘画介于壁画、雕塑与织物之间,形成类似壁画沉积与织物呼吸的暧昧质地。早期“洞喻”系列以园林与雕塑为母题,借助太湖石的结构逻辑对西方古典雕塑进行解构与重组;最新系列“亚努斯之门”则引入“看不见的墙”的意象,用素胚粗糙温暖的质地形成阻隔与显现并存的无形屏障,让画面仿佛从墙面生长而出。

Yu Fang (b. 1989) is a Chinese artist working primarily in **oil on canvas, acrylic, and mixed media**. His practice is often categorized as **figurative art**, with **romantic** and **expressively figural** qualities. Recurring themes include **the human figure, emotion, life, natural ecology, memory, and time**.

**Representative works include:**

- *洞喻-被俘的普洛塞庇娜* / *Allegory of the Cave – The Rape of Proserpina*, 2024

- *洞喻-赫拉科勒斯战人马* / *Allegory of the Cave – Hercules Fighting the Centaur*, 2024

- *洞喻-海德拉* / *Allegory of the Cave – Hydra*, 2023

- *洞喻-丽达与天鹅* / *Allegory of the Cave – Leda and the Swan*, 2024

- *勒达与天鹅* / *Leda and the Swan*, 2025

- *灵与爱* / *Soul and Love*, 2024

- *泰坦* / *Titan*, 2025

- *引诱* / *Temptation*, 2025

- *丘比特* / *Cupid*, 2025

- *帏之刃* / *Blade of the Veil*, 2026

- *琉璃* / *Glaze*, 2026

- *朔弥* / *Suo Mi*, 2026

**Creative style:**

Yu Fang often paints on raw hemp-like or plain linen bases, pushing his painting into an intermediate state between **mural, sculpture, and textile**. In his earlier *Allegory of the Cave* series, he used gardens and sculpture as central motifs, deconstructing and recomposing Western classical sculpture through the structural logic of **Taihu stones**.

In his latest solo exhibition *The Gate of Janus* / *亚努斯之门* (2026, Yousheng Space), the garden windows and rockeries largely disappear. Instead, an “invisible wall” emerges: the rough, warm texture of the raw base becomes a barrier where concealment and revelation coexist. Fiber texture replaces the smooth surface of traditional canvas, so pigment application resembles sedimentation on a wall—evoking both the patina of time and the breathability of fabric. This material approach gives his oil paintings an ambiguous quality between mural and silk scroll, as if the image grows directly from the wall.

展览与收藏Exhibitions & Collections

根据平台结构化艺术家档案数据:

**展出机构**

- 又生空间(北京798艺术区),2026年个展《亚努斯之门》

**被收藏机构**

- 平台档案中暂未提供于方被哪些机构收藏的信息,因此无法确认相关收藏机构。

注:以上信息以平台公开的艺术家档案数据为准;若需更全面的展览与收藏记录,建议进一步查阅画廊、拍卖行或艺术家官方发布的一手资料。

Based on the available artist archive data for **Yu Fang (于方)**:

**Exhibition history:**

Yu Fang has a listed exhibition titled **“亚努斯之门” (The Gate of Janus)** in **2026** at **又生空间 (You Sheng Space / CYCLE SPACE)**, located at Qixing East Street, 798 Art District, Beijing (北京市朝阳区酒仙桥路4号北京798艺术区七星东街). The provided archive currently lists only this exhibition; no other exhibition records are available.

**Institutional collections:**

The provided artist archive does **not** include any information about institutions that collect Yu Fang’s work. Therefore, it is not possible to confirm which collections, if any, hold his pieces based on the available data.

回答由 AI 依据公开资料生成,仅供参考。AI-generated from public sources, for reference only.
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