Yan Xu “My current creative rhythm is more like action painting; I don’t use sketches at all, quickly transferring my thoughts onto the canvas and then adding layers and personal emotions.”

Yan Xu “My current creative rhythm is more like action painting; I don’t use sketches at all, quickly transferring my thoughts onto the canvas and then adding layers and personal emotions.”
How and why did you start your artistic career?
While in university in China, I was initially passionate about the technical aspects of realistic art. However, in my junior year, I was inspired by the work of Peter Doig. I realized that art shouldn’t solely rely on the objective objects we see. Through continuous exploration and practice, my work gradually matured, and I became even more determined to become a professional artist.
How did you discover your medium and why did you choose it?
Regarding media, I’ve been using oil paints since university. I’ve also experimented with performance art and video art, but I gave them up. I believe I’m currently better suited to the pure realm of painting, and through extensive creation, I still feel there are many more possibilities and passions within me.
Can you talk about your creative process?
In previous years, my work usually required some preparation, such as drawing various sketches to aid the final piece. However, my current creative rhythm is more like action painting; I don’t use sketches at all, quickly transferring my thoughts onto the canvas and then adding layers and personal emotions. I usually finish a piece very quickly, but it also depends on my condition and physical strength. For example, my latest 150cm x 150cm piece was completed in three afternoons.
The question of when to finish is more complex, because my works are usually completed in series. In this case, I think the most important thing is unity. I adjust them together after finishing each series, adding or subtracting elements. Regarding individual paintings, my habit is to maintain a certain sketch-like feel. I don’t want the composition to be too conservative, so I usually subtract elements before finishing, stopping when I feel the composition reaches a comfortable balance.
Who are your favorite artists? Which ones are you inspired by?
As I mentioned above, Peter Doig made a deep impression on me. I admire many artists, such as Neo Rauch, Adrian Ghenie, and Hieronymus Bosch. Although I’ve gradually removed figurative elements from their works, I still find inspiration in them.