CONTEMPORARY ART IN CONTEXT

TINA YU  CONTEMPORARY SCULPTOR

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Fantasy art is one of the few genres that has endured since humanity’s earliest artistic expressions. The universal nature of fantasy art is brilliantly represented by the intriguing and beguiling sculptures of Chinese-born, New York–based artist Tina Yu. Yu’s works draw on the Asian aesthetic of “cuteness,” called keai in Chinese and kawaii in Japanese. Yu brings her imaginary characters to life in painstakingly detailed, personally meaningful sculptures, guided by her so-called “Double C” (cute and creepy) style.

The mystic, mythological world of Yu’s sculptures includes fairies and centaurs, animals of all sorts, and mostly female figures, some in hybrid combinations. Yu draws inspiration from movies, nature, Chinese culture, and childhood memories, uniting her fantasy world with themes of femininity and transformation.

One of her abiding fascinations is mythical creatures from ancient cultures around the world. These represent the bond between humans and animals, which is evident in works such as I’ll Be There for You and Chloris (the ancient Greek and Roman goddess of flowers, also associated with the Chinese Baihua Xianzi, or “Fairy of 100 Flowers”).

Yu has said that art is akin to therapy, allowing her to escape reality and explore her inner fantasy world. She initially worked with polymer clay to hone her sculpting skills but now uses epoxy clay. This type of clay allows her to work on larger pieces without kiln-firing. Like traditional sculpture, her larger pieces begin with wire armatures. She sometimes uses polymer clay to mold faces—like that in Meowrror—then casts them in epoxy clay. Epoxy clay’s self-drying hardness allows Yu to work in a variety of paint media, which she uses to great effect with intricate details, particularly in the eyes of her subjects. She shares her considerable sculpting skills in tutorials and time-lapse work-in-progress videos on her YouTube channel (see Resources).

The cultural aesthetic of “cute” or “adorable” has a long tradition in Asian art. In Japan, the word kawaii was used by the Heian period (794–1185 CE) novelist Murasaki Shikibu (ca. 973–1014/1015) to describe humorous or endearing characteristics of a character. Kawaii can be seen in Japanese mingei (folk art) and contemporary manga (comics or graphic novels) and anime. In China, the similar keai aesthetic can be found in seasonal folk art such as Jinshan painting from the Shanghai region and Huishan clay figurines from the Wuxi region.

Yu has adapted the cuteness aesthetic to her own rich, inner fantasy world. Her work is part of a flourishing cultural movement that extends to personal lifestyle and fashion in both China and Japan—the keai subculture in China and the Harajuku subculture in Japan, for example. The keai and kawaii style also appears in the art of other contemporary artists such as Yoshitomo Nara (b. 1959) and Takashi Murakami (b. 1962) in Japan, and Cheng Zhe (b. 1985) in China.

Yu was born in 1995 in China. As a child, she routinely took weekend art classes, where she learned still-life painting and photorealistic pencil drawing. After high school, she moved to New York, where she attended the Pratt Institute, earning a BA in graphic design in 2016. During her senior year at Pratt, she became fascinated with sculpture, ultimately finding that she could better express her vision in three-dimensional forms.

Soon after graduating, unable to picture herself making a living as a graphic designer, she took the bold step of deciding to become a freelance artist. Following her heart, she developed her artistic identity through sculpture. Her work displays a strong keai aesthetic, which she attributes to memories of watching Studio Ghibli films directed by Hayao Miyazaki (b. 1941) and seeing the art of Taiwanese American artist James Jean (b. 1979). Her passion for sculpture brings her much joy, particularly because it is appreciated by people all over the world. The colorful fantasy world she has created, she hopes, reminds her audience that appreciating small things in life can be very rewarding.

What are some of the biggest influences on your work, including other artists, events, or things outside of the arts?
TY: My inspiration feels more deeply rooted in life itself, the books I read, the films I love, and especially the memories of my family and childhood. I’m drawn to creating pieces that carry a sense of nostalgia and personal storytelling.

What is a typical workday like for you?
TY: I usually start my day with a workout, which helps me clear my mind. Once I’m in the studio, I’ll attend to practical tasks first, such as answering emails or packing orders, before diving into sculpting or painting. I tend to work until lunchtime, take a short break, and then continue creating throughout the afternoon, often until 7 p.m. If I’m deeply absorbed in a project, I can easily lose track of time and work well past 10.

Do you have any specific strategies, rituals, or routines that help you work and/or generate ideas?
TY: I don’t have a ritual, but I find that being in nature clears my mind and sparks new ideas. A simple walk outside often shifts my perspective. I’m especially inspired by colors and organic shapes I notice in everyday life. Interestingly, my best ideas often come when I’m in the shower or just about to fall asleep, so I keep a sketchbook or notes app nearby to capture those fleeting sparks before they disappear.

Is there any genre of Chinese zines that have influenced your work?
TY: I might need a little clarification on the question, but if we’re talking about cultural influences, I’ve always been inspired by traditional Chinese aesthetics, especially color palettes and decorative patterns. They carry such rich symbolism and timeless beauty that I love incorporating them into my work.

What particular Chinese mythology influences your subject matter?
TY: I often draw from recurring motifs in Chinese culture. Water and clouds, for instance, appear frequently in my work because of their fluidity and dreamlike qualities. I also use red and gold often—colors that symbolize luck, prosperity, and fortune.

If you could go back in time, what advice would you give yourself as an emerging artist? Or what advice do you have for young aspiring artists?
TY: I wouldn’t give my younger self advice, because every choice and mistake has led me to where I am today. For young artists, though, I’d say: experiment with as many mediums as you can. You might be surprised by what resonates with you. And most importantly, be patient with yourself. Every artist has their own path, and comparison only distracts from the joy of creating.

What are you working on currently? Can you share any upcoming projects with our readers?
TY: Right now, I’m working on my very first art book, which I’m incredibly excited about. It’s a big milestone for me, and if all goes well, it should be released in just a few months.

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Written by Karl Cole, Art Historian and Curator of Images at Davis Publications. kcole@davisart.com