Man Yu creates to communicate. Her beginnings in art occurred precisely because she did not know the words to express everything she had to say. But what Man Yu has to say transcends the physical plane. What she paints is not what can be seen, but what is under the skin. Despite this, figuration does not escape from any of her works, because in her definition of the invisible, the visible is the limit that makes the work finite.

Through what Man Yu communicates in her works, she seeks to transform those who enter her exhibition halls, so that they are not the same people once they leave. Thus, while her creations are works of art, her exhibitions are a social work. The messages, in which the humanistic and spiritual components are always present, hope to arouse introspection in the contemplative spectator who begins a process of change in a very subtle way, at some level of his existence.

The current work of Man Yu is specially focused in this intangible part, originating a new line different from the hyperrealism that characterized her previous work. However, the realistic figurative element that distinguishes her work does not fail to stand out. This and the mixture of traditional techniques with the subtle interventions of tangible elements that Man Yu adheres, sews, embeds in the paintings, place it in the context of contemporary realism. In addition, her messages, whatever the period in which the public exist, respond to a reality of the moment, because the concepts that Man Yu develops, are beyond the physical plane and free of geographical or temporal limitations, always remaining contemporary to the viewer.

Man Yu's inspiration originates in an inner place, in meditation, in a journey deep in her third eye and her other superior chakras. Thus, from the inside out, and with a certain influence of her spiritual teacher Ching Hai and the great artist Luis Caballero whom she did not know in person but has always admired, she expresses in her canvas very intimate impressions that, despite her passion of human anatomy, are originated beneath the skin.

Therefore, owing to her constant and evident transformation, a route that began in hyperrealism continues towards the abstract. The route goes through stages such as the current one in which the aesthetic cleanliness, concepts related to the mysticism of the human being and the fine detail of even the loose strokes are part of the recognizable signature and brush of Man Yu.

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