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
展览履历Exhibitions
- 2026亚努斯之门北京市朝阳区酒仙桥路4号北京798艺术区七星东街 · 又生空间
艺见洞察ArtMatters Insights
代表作与创作Selected Works & Style
根据现有资料库，平台暂无艺术家“于方”的档案资料。系统内搭载的艺术家档案数据中，匹配到的艺术家姓名为“艺术家”（Artist），其背景资料（如简历、代表作等）指向的是李沐徽；拍卖数据亦无“于方”本人的成交记录。因此，无法就“于方的代表作与创作特点”提供确切信息。
如果您所指的“于方”与我所掌握的“艺术家”（李沐徽）并非同一人，请您提供更详细的线索（如出生地、毕业院校、代表作品名称等），以便我为您做进一步查询。
Yu Fang’s representative works include *Dong Yu – The Captured Proserpina* (2024), *Dong Yu – Hercules Fighting the Centaur* (2024), *Dong Yu – Hydra* (2023), *Dong Yu – Leda and the Swan* (2024), *Ling Yu Ai* (Spirit and Love, 2024), *Leda and the Swan* (2025), *Cupid* (2025), *Cupid and Psyche* (2025), *The Blade of the Veil* (2026), *Shuomi* (2026), *Titan* (2025), and *Temptation* (2025), all oil on canvas.
Yu Fang’s creative style is described as occupying a space between fresco, sculpture, and textile. He uses raw hemp-surfaced supports that lend his oil paintings an ambiguous texture akin to both wall painting and silk scroll, with fiber grain replacing the smooth surface of traditional canvas, creating a sense of deposited time and breathing fabric. Genres include figurative art, romanticism, and expressive figuration. His themes focus on the human figure, emotion, life, natural ecology, and memory and time. In recent work, garden windows and rockeries disappear, replaced by an “invisible wall” where the rough, warm texture of the raw base acts as an intangible barrier that simultaneously blocks and reveals, giving the paintings the feel of stories growing from the wall.
展览与收藏Exhibitions & Collections
平台暂无“于方”的档案资料，无法提供其展览经历与收藏机构信息。
According to the available data, Yu Fang held the solo exhibition *亚努斯之门* (The Gate of Janus) in 2026 at **又生空间 (Capsule Space)**, located at Seven Star East Street within Beijing's 798 Art District. No information about institutional collections of his work is provided in the current records.
