NISKY
Yesterday's Letter
2024.09.12 - 11.16
DUMONTEIL Contemporary Paris is pleased to present “Yesterday's Letter”, the solo exhibition of Shanghai-based Chinese artist Nisky YU. The exhibition showcases the artist's "Metacollage" exploration through oil paintings over the past two years, reflecting an interdisciplinary exploration of fine arts, music, literature, and cinema. This marks the artist's sixth solo exhibition with DUMONTEIL.
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Studies show that viewers typically linger in front of a painting for just 10 to 50 seconds. Yet, when we encounter Nisky YU's works, regardless of their scale, we quickly sense that they are imbued with an extraordinary depth of narratives, inviting us to observe them far longer. Each detail in his compositions — whether it's the intricate relief of a building, the folds in a character's sleeve, or the stars scattered across a dark night sky — reveals hidden surprises. It's as though we are unknowingly leafing through a book and realising that it is merely a prologue to an epic tale. With each new chapter, fresh characters and unfolding plots emerge, pulling us deeper into a complex narrative.
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Nisky YU | 俞杨
The Measure of Exile| 流亡的尺度
150 x 120 cm
这份融合的技巧被艺术家成为“超拼贴”，从其创作早期发展至今。如果说原本的拼贴是停留在“材料”的物理变化上，那Nisky的超拼贴更像是一种化学反应，将所有原材料都打散再加以整合、重组，在画面中实现统一。可以说，“超拼贴”既是艺术家的构思过程，也是其创作手段。
面对“超拼贴“材料”相互间的矛盾性，他曾引用日本作曲家武满彻的陈述来解答:“我不想去除那丰富的矛盾；相反，我要这互相争斗的两种力量。那样，我就可以避免与传统隔离，并且在每个新作品中向着未来推进。” 这份对精彩过往的“怀旧”与共鸣让Nisky在当下以“超拼贴”续写它们的史诗。
The artist refers to this fusion technique as ‘Metacollage’, which has evolved from the early days of his work. While traditional collage involves physically assembling different materials, Nisky’s Metacollage is more akin to a chemical reaction. It deconstructs raw materials before reintegrating and reorganizing them into a cohesive whole, achieving visual harmony within the composition. In essence, Metacollage represents both the artist's conceptual approach and his creative method.
Addressing the inherent contradictions within the materials used in Metacollage, Nisky once cited Japanese composer Toru Takemitsu: “I don't want to eliminate the richness of contradictions; rather, I embrace the tension between two opposing forces. This allows me to avoid disconnecting from tradition while continuing to push forward into the future with each new work.” It is this deep sense of "nostalgia" and connection to the rich, captivating past that enables Nisky to carry their legacy forward through his Metacollage technique.
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Nisky YU | 俞杨 (b. 1989)
Yesterday's Letter | 昨日信
130 x 100 cm
“超拼贴”技巧的背后是这位年轻艺术家令人惊讶的文化底蕴。他有着近乎贪婪的好奇心，促使他大量而庞杂的自学，这让Nisky的探索与研究更多是基于感受与体悟，跳脱了传统研究的分类与框架——美术、文学、音乐、建筑、设计，诸如此类——由此获得一种全新的、更为开放的生命力。
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Nisky YU | 俞杨 (b. 1989)
Where is My Homeland？| 乡关何处？
120 x 90 cm
除了绘画，Nisky也精通音乐创作，这或许可以解释他的表达所具有的“通感”。例如，他对色彩的感受不仅是视觉的，也是情感的和音乐的，在多个感官层面产生共鸣。对于此次作品中所用到的绿色，他写到，“沙普绿的活力，橄榄绿的忧郁，苝绿的深沉，酞青绿的穿透力，氧化铬绿的静谧…这些绿色仿佛五声音阶，他们交融，组合，绵延，晕散…一同构成了作品中关于山，树，想象的世界。”
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Nisky YU | 俞杨 (b. 1989)
Theater of Consciousness | 意识剧场
130 x 100 cm
The works in this exhibition also reflect Nisky’s recent exploration of texture as a central guide to his creative process. He starts with randomly left paint particles and textured layers on the canvas. From these spontaneous marks, he uncovers specific images—the movement of mountains or the silhouette of a figure—much like a child lying in the grass imagining shapes in the clouds. It's almost unimaginable that these meticulously composed grand scenes emerge from such random blocks of color and lines. In addition, the texture in his works also shows the clear influence of Max Ernst's frottage, Zao Wou-Ki's and Anselm Kiefer's highly textured, viscous surfaces.
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Nisky YU | 俞杨 (b. 1989)
Discourse of Life | 语篇人生
120 x 100 cm
“昨日信”是Nisky结合自身文化修养、所学所长与想象开展的深刻对话，也是他对历史、文化的反思与致敬，同时也埋藏了他对个人经历和情感的倾诉，期待观众展信阅读。
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Nisky YU | 俞杨
Anecdotes About Spirits and Immortals | 搜神记
200 x 150 cm
杜梦堂DUMONTEIL Contemporary巴黎空间此次俞杨Nisky个展「昨日信」的开幕酒会定于9月12日(周四)晚间6时至9时举办。欢迎大家关注这次展览。
The opening reception of Nisky YU's solo exhibition Yesterday's Letter at DUMONTEIL Contemporary Paris is scheduled for Thursday, Sept. 12th from 6 pm to 9 pm.
Artwork Photo ©QYing
关于艺术家
俞杨1989年出生于上海，长期在绘画和音乐等领域进行创作与探索。Nisky是俞杨为自己创造的别名 , 取自他最喜欢的两位电影大师Federico Fellini和Krzysztof Kieslowski的名字结尾 , 以此来表达对他们的敬意。
Nisky的绘画作品源于其对美术、音乐、文学与电影的多元理解。“超拼贴”是Nisky 近年来从创作体验中提炼出的一个新概念。“超拼贴”超越了拼贴的界限, 在重构原始材料的“语法结构”的基础上, 把不同范畴的两种材料整合成一个“更高层次的统 一体”, 达到“完全的渗透”。艺术家选择具有“丰富的矛盾”的材料, 保留这种“争斗”来避免与传统相互隔离, 让传统以此得到全新的生命力。
自 2012 年起，Nisky 由DUMONTEIL杜梦堂独家代理。近年来其主要个展包括 “NISKY” (2020)，“幻视 I & II” (2017)， “重影之景” (2014)，“环形迷宫” (2013)， “Multi-Nisky” (2011) 等。艺术家的作品曾在PAD巴 黎，PAD伦 敦，Art021， 艺览北京等国内外艺博会上展出，并被国内外众多藏家和机构收藏，其中包括一件上海新天地的永久陈列作品。
Yu Yang, aka Nisky, (b.1989, Shanghai) has always been exploring in both realms of painting and music. Nisky is an alias forged from the last letters of Federico Fellini and Krzysztof Kieslowski, as a homage to the artist’s favorite filmmakers.
NISKY's works result from an ever-lasting cross-disciplinary interest in fine arts, music, literature, and cinema. “Metacollage” is a new concept that evolved from the artist’s practice on paper and canvas — an attempt to “surpass the limits of collage” and to form a “superior unit” between painting and other art forms, based on the “syntactic structure” of different materials through a chain of chemical reactions, ultimately to attain “complete osmosis”. For this creative enterprise, the artist opts for materials rich in contradictions and struggles, thus revisiting traditions while moving forward.
Since 2012, the artist has been represented by Galerie Dumonteil. Nisky’s work has been the subject of solo exhibitions including NISKY (2020), Phosphenes I & II (2017), The Interlacement Landscape (2014), The Circular Maze (2013), Multi-Nisky (2011), etc. The artist has also participated in international art fairs such as PAD Paris, PAD London, Art021, Jing Art Beijing, etc. His work has been collected by both Chinese and international private collectors and corporations, among which includes a permanent display at Xintiandi, Shanghai.
