NISKY is an alias forged from the last letters of the names of Federico Fellini and Krzysztof Kieslowski as an homage to the artist’s favorite filmmakers.
Born in Shanghai in 1989, YU Yang, aka NISKY, developed a destructive / constructive taste for covering surfaces with figures since childhood. He was initiated to graphic arts in high school and began painting at university. His works are the result of an ever-consuming cross disciplinary interest in Fine Arts, music, literature and cinema.
Prior to dedicating himself to painting and joining Galerie DUMONTEIL, NISKY founded, at the age of 18, his own band and has never ceased to express himself as a musician since.
NISKY believes that the act of creation must “consume” the artist, not in the sense of being “depleted”, but “ignited”. His approach to visual arts is analogous to his practice of music, whereby each painting is considered a song; and not surprisingly the themes of his albums often rejoins that of his painted shows.
NISKY works in a rather unconventional studio where only a single wall is dedicated to creative expression and where everything else is occupied by books, music records and films. His passion for film, music, literature, architecture, and fashion is concentrated on the 1950’s and 60’s where he sees the domain of creation as having undergone a revolutionary golden era from which a whole generation of artists then benefited.
“The studio is only one of my instruments” said Brian Wilson, singer of The Beach Boys. The same thing could be said of NISKY for whom the canvas is his music console and knowledge is the first instrument he possess.
This new artistic concept of “Metacollage” is one that NISKY has developed, foremost as an attempt to “surpass the limits of collage” and to form a “superior unit” between the matter of separate elements, through the reformulation of their grammar, in order to attain to a “complete fusion”. For this creative enterprise the artist opts for materials that are rich in contradictions and out of respect for these conflicts finds himself revisiting a number of traditions.
After The Circular Maze in 2013 and The Landscape of Interlacement in 2014, NISKY changed his way of working. Following a prolonged 2 years and a half retreat, he begins anew with two exhibitions in Paris and Shanghai in 2017. To him the show in Paris is both a retrospective and a prospective, a wonderful transition from his earlier works to the show in Shanghai which will be fully dedicated to the complete and deep exploration of the concept of “Metacollage”.
Born in Shanghai in 1989, YU Yang, aka NISKY, developed a destructive / constructive taste for covering surfaces with figures since childhood. He was initiated to graphic arts in high school and began painting at university. His works are the result of an ever-consuming cross disciplinary interest in Fine Arts, music, literature and cinema.
Prior to dedicating himself to painting and joining Galerie DUMONTEIL, NISKY founded, at the age of 18, his own band and has never ceased to express himself as a musician since.
NISKY believes that the act of creation must “consume” the artist, not in the sense of being “depleted”, but “ignited”. His approach to visual arts is analogous to his practice of music, whereby each painting is considered a song; and not surprisingly the themes of his albums often rejoins that of his painted shows.
NISKY works in a rather unconventional studio where only a single wall is dedicated to creative expression and where everything else is occupied by books, music records and films. His passion for film, music, literature, architecture, and fashion is concentrated on the 1950’s and 60’s where he sees the domain of creation as having undergone a revolutionary golden era from which a whole generation of artists then benefited.
“The studio is only one of my instruments” said Brian Wilson, singer of The Beach Boys. The same thing could be said of NISKY for whom the canvas is his music console and knowledge is the first instrument he possess.
This new artistic concept of “Metacollage” is one that NISKY has developed, foremost as an attempt to “surpass the limits of collage” and to form a “superior unit” between the matter of separate elements, through the reformulation of their grammar, in order to attain to a “complete fusion”. For this creative enterprise the artist opts for materials that are rich in contradictions and out of respect for these conflicts finds himself revisiting a number of traditions.
After The Circular Maze in 2013 and The Landscape of Interlacement in 2014, NISKY changed his way of working. Following a prolonged 2 years and a half retreat, he begins anew with two exhibitions in Paris and Shanghai in 2017. To him the show in Paris is both a retrospective and a prospective, a wonderful transition from his earlier works to the show in Shanghai which will be fully dedicated to the complete and deep exploration of the concept of “Metacollage”.
