There are paintings and drawings that encourage a memory, illuminate an intimate space or the sensuality of a body; sometimes they look like mirrors of the world, of their things and their inhabitants. This can be understood as the real realism of Man Yu: a representation of what is out there, between things, with others. Color and line appear in each work, as the characters of the theater or those of the cinema: they imitate gestures or resemble the real, thanks to the perspective or the taste of the painter. That may be called style; and is an essential belonging. She knows it or intuits it deeply. In her paintings, the style reveals her technique and an intention of memory: to evoke that face, a body or a profile.

Sidelong –in the mirror of her work– Man Yu allows the public to appreciate the brushstrokes of her personality. We know that she is in love with precision. And we know that, although she is passionate about detail, her purposes transcend those of the copyist and those who once encouraged the hyperrealists. Above all, we know that in her fascination there is something powerful and sincere. But, in addition, there is something foreign that she looks for. It is the other. The one she has painted; or maybe the one who looks at her work and appreciates ​​it. A published novel also escapes its maker and becomes a legacy of all. The finished work resembles that of children. And so, we take it as the center of meaning; a source for dialogue. Man Yu knows it. That is why magic is noticed in her art. More than the product of a realistic vocation, this legacy comes from virtue and passion

—Álvaro Zamora

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