Master

Air-Dried Roses

Artist Yang Fuxu
Creation Date 2015
Material Oil on canvas
Size 50 x 90 cm
Category original
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Current total $6,638.00

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Perspectives

A closer look

Artwork Notes

Art appreciation

The vase stands slightly left of centre, its slender body supporting a wide bouquet and creating a pronounced top-heavy balance. Most flower heads cluster at upper left and centre, while the right side thins out before one long stem descends. That curve interrupts the vase’s vertical direction and returns the eye from the crown to the table. The subject remains recognisably roses, but the irregular outline produced by drying receives more attention than symmetry.

Each flower is rotated into place with a knife and short brush, using dark grey, brown-black, tarnished gold and traces of muted red. Incised dry leaves and stems pass between the heads, while raised paint casts minute shadows. Grey-white, pale violet and cream are dragged vertically across the wall; narrow light and dark planes construct the vase. The thick crown stands apart from the flatter background and gives the dead flowers physical weight.

Yang’s Home and Duilianggou series attend to weathered rural surfaces, while his Brilliant Night series extracts light from dark layers. Both concerns enter this still life. Dried petals offer a rough surface for repeated accumulation, and a pale wall brings the dark bouquet forward. He selects the stage at which roses retain their form after drying, using it to study how time changes a familiar object’s colour and structure.

Theme

Style and context

Floral still life has long examined blooming, fading and ripening as distinct material states. Dutch flower paintings included curled leaves and fallen petals within elaborate bouquets; modern painters often address the surfaces of dried plants directly. Air-Dried Roses is carried by its physical condition: contracted heads, brittle leaves, a falling stem and heavy paint show the changes caused by drying.

Yang combines academic training with contemporary formal experiment. The vase supplies a stable structure, while knife-like impasto lets the roses approach a mass organised by texture. Their representational identity remains clear even as the worked surface becomes central. A dried bouquet gives the painter both an observed object and freedom to build with oil paint. Material description and observed decay therefore remain closely connected.

Artist Profile

About the artist

Yang Fuxu (born 1980) graduated from the Guangxi Academy of Arts and later undertook advanced study at the Central Academy of Fine Arts and through a China Federation of Literary and Art Circles programme for emerging cultural practitioners. He is a member of the China Artists Association. This training supports both his academic command of form and his continued experiments with material and composition.

His practice includes the Homeland, Duilianggou, Dancer and Brilliant Night series. Homeland and Duilianggou use close views of rural ground; Dancer builds rhythms resembling bodily movement through leaning, crossing and extended trunks; Brilliant Night places artificial light within dense dark layers.

His exhibition record includes Fengyu Southwest in 2013, a Bronze Award in the New Wheat Field programme in 2019 and selection for the national Era, Portrait exhibition in 2023. Across these series, recognisable landscape forms increasingly give way to thick paint, broad colour fields and rhythmic structure.

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