藝術(shù)史的敘事空間，充滿了轉(zhuǎn)彎、顫動(dòng)、蕩漾，是一部向無數(shù)方向流動(dòng)的文本，被哲學(xué)家和美學(xué)家賦名出"褶子""折疊""齊物"等等概念，這些概念又重新解釋世界、賦予世界、賦予宇宙、賦予萬物。藝術(shù)家們又在理論與作品中回環(huán)探索更深的基底。余曉通過對(duì)繪畫創(chuàng)作的新觀念 -"腹地"（Underbelly）的研究，在無數(shù)次透明顏料的堆疊過程中，再用編制、轉(zhuǎn)移、解剖等方式，實(shí)現(xiàn)對(duì)內(nèi)探索與對(duì)外邊界打破。
The narrative space of the history of art is full of turns, vibrations and ripples. As a text flowing in innumerable directions, it has been given concepts such as "crease", "fold" and "equality of things" by philosophers and aestheticians. These concepts are in turn used to re-interpret the world, the universe and myriad things. Moreover, artists, in their theories and works, explore the still deeper base in a tortuous way. Through her research on "Underbelly" as the new concept of her painting creation, Yu Xiao, in the countless processes of stacking transparent pigments, succeeded in making the inward exploration and boundary breakthrough by resorting to wayssuch as compilation, transference and anatomy. 

對(duì)于傳統(tǒng)繪畫而言，所有表現(xiàn)的內(nèi)容都可在單一平面直觀可見，講述"繪畫性"的故事。余曉將畫布"身體"化，通感心手，翻轉(zhuǎn)畫布，使得繪畫超越物質(zhì)性本身。她的繪畫作品既帶有中國(guó)傳統(tǒng)線條的寫意美感，由以完美控制的關(guān)系同其他線相連接，這些葉脈關(guān)系形成于一個(gè)"光滑的"無邊際的平面之上，通過"折疊"的形式，構(gòu)筑起行為與繪畫的聯(lián)系。例如在三聯(lián)作品《四十乘三十的30度·四十乘四十的0度·二十五乘四十的60度》中，藝術(shù)家通過折線將三張畫連接起來，一脈相承，綿延著作品的生命力。
As far as traditional painting is concerned, all the expressed contents can be intuitively visible on a single plane, which serves as a means of narrating the story of "painting". By using the canvas like her body, she is adept in flipping it, making the painting transcend the materiality per se. Her painting works are not only imbued with the enjoyable sense of beauty of traditional Chinese lines but also connected with other lines through a perfectly controlled relation. The relation of these leaf veins is formed on a "smooth" boundless plane. In the manner of "folding", the connection between behavior and painting is constructed. For example, in the triad work "Forty By Thirty And 30 Degree, Forty By Forty And 0 Degree, Twenty-Five By Forty And 60", the artist, through broken lines, connects the three paintings, which are of the same aura and continue the vitality of the work. 

形式以上，是藝術(shù)家對(duì)華人、女性、移民等身份關(guān)照的討論。中國(guó)當(dāng)代國(guó)際藝術(shù)家不可避免地在與西方語境碰撞中產(chǎn)生困惑與糾結(jié)。裝置《鏡像》對(duì)自我意識(shí)行為進(jìn)行現(xiàn)場(chǎng)還原，仿佛將人的潛意識(shí)挪移到真實(shí)空間，隱藏的、未見的、被忽視的剎那感受被一一展現(xiàn)。不管媒介如何，最為真誠(chéng)地是，藝術(shù)家將最柔軟的"腹地"向觀眾展開，邀請(qǐng)大家共同沐浴從畫洞留白處閃出的光，在介于思辨性與繪畫性之間的曖昧空間中，遇見當(dāng)代、抽象、媒介等等避無可避的問題。最終，在"剖白"與"探求"的目光的交錯(cuò)下，各方對(duì)于藝術(shù)史的討論得以走向更深處。
Above the form is the discussion of the artist on the identities such as the Chinese, females and immigrants. Contemporary Chinese international artists are inevitably filled with perplexity and vacillation in the collision with the western context. The device "Mirror" restored the scene of the behavior of self-awareness, as if transferring man's sub-consciousness to the real space, thus displaying the transient feelings that are hidden, unseen and ignored. Regardless of what media become, the most sincere thing is that the artist unfolds the softest "underbelly" before the audience and invites them to be bathed in the light from the blank space of the painting cave. In the ambiguous space between speculation and painting, unavoidable questions such as contemporaneity, abstraction and media are encountered. In the end, under the alternation of the visions of "self-explanation" and "exploration", all parties succeeded in furthering the discussion on the history of art.  

藝術(shù)家簡(jiǎn)介

余曉

當(dāng)代藝術(shù)家，藝術(shù)教育者。出?于中國(guó)杭州，畢業(yè)于倫敦中央圣馬丁純藝術(shù)碩士，現(xiàn)為英國(guó)皇家藝術(shù)學(xué)院藝術(shù)實(shí)踐類在讀博?，?前?作?活于倫敦。她?直從事繪畫為主、裝置、?為等創(chuàng)作，舉辦過四次個(gè)展；應(yīng)邀參加在中國(guó)、英國(guó)、意?利、波蘭、美國(guó)等諸多重要群展，如英國(guó)皇家美術(shù)學(xué)院年展，邁阿密巴塞爾'Meta-forms'(元形式)公共項(xiàng)?展，何?凝美術(shù)館‘別處/此在’等；作品在藝術(shù)巴塞爾Art Basel， 以及國(guó)內(nèi)的西岸WestBund、ART 021等國(guó)際藝術(shù)博覽會(huì)展出，并被機(jī)構(gòu)和私?收藏。

Yu Xiao, a contemporary artist and art educator. Born in Hangzhou, China, she graduated with a master's in fine arts from Central Saint Martins in London. She is currently a doctoral candidate in Art Practice at the Royal College of Art in the UK and is based in London. Her work primarily revolves around painting but also includes installations and performances. She has held four solo exhibitions and has been invited to participate in numerous significant group exhibitions in China, the UK, Italy, Poland, the USA, and more. Notable exhibitions include the annual show at the Royal Academy of Arts in the UK, the 'Meta-forms' public project at Miami Basel, and 'Elsewhere/Here' at the He Xiangning Art Museum. Her works have been showcased at international art fairs like Art Basel, as well as domestic ones such as WestBund and ART 021, and have been collected by institutions and private individuals.

個(gè)展：

"看不見的繪畫"，現(xiàn)在畫廊，草場(chǎng)地，北京，中國(guó)（2018年）；
"繪畫的可能"，現(xiàn)在畫廊，草場(chǎng)地，北京，中國(guó)（2016年）；
"繪畫的細(xì)小差別"，現(xiàn)在畫廊，草場(chǎng)地，北京，中國(guó)（2013年）；
"方位"，WSA美術(shù)館，華沙，波蘭（2011年）。

Solo Show

2018 'Unseen Paintings', Beijing Art Now Gallery, Beijing, China
2016 'The Possibilities of Paintings', Beijing Art Now Gallery, Beijing, China
2013 'Paintings of small difference', Beijing Art Now Gallery, Beijing, China
2011 'Aspects', WSA Gallery, Warsaw School of Art, Warsaw, Poland

群展

"地球之說"，Beaconsfield比肯斯菲爾得當(dāng)代藝術(shù)中心，倫敦，英國(guó)（2023年）
"跳房子"2023藝術(shù)研究雙年展，Copeland ，倫敦，英國(guó)（2023）
"層起的表面"，Vanguard畫廊，上海，中國(guó)（2023年）
"不羈的邂逅"，薩瑟克派克美術(shù)館，倫敦，英國(guó)（2022年）
"全球速遞"，Daechumo公共美術(shù)館，江陵，韓國(guó)（2021年）
"別處/此在"，何香凝美術(shù)館，深圳，中國(guó)（2018年）
"傳粉"倫敦雙年展，倫敦，英國(guó)（2014年）
"夏季展"，皇家美術(shù)學(xué)院，倫敦，英國(guó)（2012年）
 "獨(dú)立宣言"，今日美術(shù)館，中國(guó)（2011年）。

Selected Group Exhibition
2023 'EarthWise', Beaconsfield Contemporary Art, London (Curated by Josephine Berry), UK
2023 'Hopscotch_Research Biennale 2023', Copeland Gallery, London
2023 'Layered Surface', Vanguard Gallery, Shanghai，China
2022  Unruly Encounter, Southwark Park Gallery (Lake Gallery & Dilston Grove) , London （Curated by Charlotte Bonham-Carter & Dr Catherine Ferguson ）,UK
2021 'Worldwide express', Daechumoo Fine Art, Gangneung, Korea
2018 'Here/Elsewhere', He Xiangning Art Museum, Shenzhen, China (Curated by Mr Wang Huangsheng)
2015 'MetaForm', Public section of Art Basel Miami Beach, Collins Park, Miami, US (Curated by Nicholas Baume)
2012 'Summer exhibition 2012', Royal Academy of Arts, London, UK (Curated by Tess Jaray RA)
2011 'Declaration of Independence, at Today Art Museum, Beijing, China