NISKY (b. 1989, Shanghai) is a multidisciplinary artist who seamlessly blends painting, music, literature, and cinematic influences. His pseudonym, NISKY, pays homage to filmmakers Federico Fellini and Krzysztof Kieslowski, reflecting his deep admiration for their visionary storytelling.
A musician since founding his own band at 18, NISKY approaches both art and music with the belief that the act of creation must “ignite” the artist. Viewing each painting as a song, he often intertwines themes across his visual and musical works. Inspired by the revolutionary art and culture of the 1950s and 60s, NISKY works in a studio brimming with books, records, and films, embodying his cross-disciplinary approach. As Brian Wilson of The Beach Boys once said, “The studio is only one of my instruments,” a sentiment that resonates with NISKY, for whom the canvas becomes his music console, and his study is the first instrument he possesses.
NISKY’s practice focuses on his concept of "Metacollage," an innovative method that transcends traditional collage by creating a “superior unit” of painting and other art forms. This technique involves a syntactic interplay of materials and chemical reactions, achieving “complete osmosis” while balancing tradition and innovation. His recent works emphasize texture as the central guide to his creative process. Beginning with spontaneous paint particles and textured layers left randomly on the canvas, NISKY transforms these elements into vivid landscapes and figures—much like imagining shapes in clouds. His textured surfaces reflect the influences of Max Ernst, Zao Wou-Ki, and Anselm Kiefer.
Since 2012, NISKY has been represented exclusively by Galerie Dumonteil. His work has been the subject of solo exhibitions including Yesterday’s Letter (DUMONTEIL Paris, 2024), NISKY (DUMONTEIL Shanghai, 2020), Phosphenes I & II (DUMONTEIL Paris & Shanghai, 2017), and The Interlacement Landscape (DUMONTEIL New York, 2014). His works have also been featured in major art fairs such as PAD Paris, PAD London, Westbund Art & Design, Art021, and Jing Art Beijing. NISKY’s works are held in numerous Chinese and international private collections and corporate collections, including a permanent display at Xintiandi, Shanghai.
A musician since founding his own band at 18, NISKY approaches both art and music with the belief that the act of creation must “ignite” the artist. Viewing each painting as a song, he often intertwines themes across his visual and musical works. Inspired by the revolutionary art and culture of the 1950s and 60s, NISKY works in a studio brimming with books, records, and films, embodying his cross-disciplinary approach. As Brian Wilson of The Beach Boys once said, “The studio is only one of my instruments,” a sentiment that resonates with NISKY, for whom the canvas becomes his music console, and his study is the first instrument he possesses.
NISKY’s practice focuses on his concept of "Metacollage," an innovative method that transcends traditional collage by creating a “superior unit” of painting and other art forms. This technique involves a syntactic interplay of materials and chemical reactions, achieving “complete osmosis” while balancing tradition and innovation. His recent works emphasize texture as the central guide to his creative process. Beginning with spontaneous paint particles and textured layers left randomly on the canvas, NISKY transforms these elements into vivid landscapes and figures—much like imagining shapes in clouds. His textured surfaces reflect the influences of Max Ernst, Zao Wou-Ki, and Anselm Kiefer.
Since 2012, NISKY has been represented exclusively by Galerie Dumonteil. His work has been the subject of solo exhibitions including Yesterday’s Letter (DUMONTEIL Paris, 2024), NISKY (DUMONTEIL Shanghai, 2020), Phosphenes I & II (DUMONTEIL Paris & Shanghai, 2017), and The Interlacement Landscape (DUMONTEIL New York, 2014). His works have also been featured in major art fairs such as PAD Paris, PAD London, Westbund Art & Design, Art021, and Jing Art Beijing. NISKY’s works are held in numerous Chinese and international private collections and corporate collections, including a permanent display at Xintiandi, Shanghai.
