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Yu Aijun’s visual works are often realized in the form of graffiti, an intermediate between painting (activity) and installation, or (animated) videos, to explore the relationship between “form” and the world in which the form comes from. Free form, (improvisation) graffiti, the balance between indirectness (unknown sense) and directness of painting, anti-elitism and anti-classicism, market form, personalized humor, and so on. Yu Aijun’s work basically revolves around these keywords. But, in regards to painting, more often than not, he utilizes “painting” in its totality as a tool to manipulate and intervene, as opposed to operating within the context of established comfort zone of certain aesthetics. Therefore, he has always attempted to obscure and broaden the borders of graffiti, sketches, object, poetry, along with other “real estate” into a broader field, in order to demonstrate the fundamental and inherent nihilism in media, as well as the desire for equality and freedom of expression in contemporary art. Yu Aijun thinks his work is “always related to the restraint of emotion, the present of the society and Its psychology, as opposed to the mere mathematics of aesthetics” and “about the temporary rather than the eternal”. Therefore, it has interested me more and more to present the “Socialist Populist Form” with a lo-fi methodology to convert and adapt into paintings and other visual media. These works paradoxically combine autobiography and politics, boredom and fear, dramatics and nihilism. In this process, a certain uncertainty brought upon by the act of painting unveils a series of hidden clues through the relinquishment of restraint, which he calls it “a mystical action”.

 

Yu Aijun was born in China in 1971. He graduated from Oil Painting Department of Lu Xun Academy of Fine Arts in 2004. Currently, he lives and works in Shenyang