It sn’t it true that the aesthetic of our time is all about the surface – the “look”? So, when you delve deeper behind a piece of creation or a performance, how many great underlying personalities do you see – compelling expressions, forceful thinking, a free mind, daring to have a different viewpoint? There are indeed not many of them.
So, when you look up the name Leo, Yuen Wai-Ip, you will discover a contemporary artist from Macau. An artist who has lived a real life that gives strength to his character, yet the sensitivity he needs for creativity…
He is not a painter that paints decorative works, but is an artist who creates truly contemporary works that speak with a solid content. His works are full of metaphorical references to human nature and his changing society.
Most people who know his paintings will mention the small bird dressed in a black coat in a seemingly lonely, helpless scene in his early works, such as Birthday Cake (2003). It is understood that during the creative process, he did not intend to create a series with the bird. Instead, he only wanted to speak through the canvas. But as he continued to paint, a series appeared in the eyes of his audience.
His delicate insight into the contemporary environment of Macau can already be seen in his earlier works such as the larger painting Mr. Hot Night 1 (1999, 178cm x 130cm). At first glance, it is just a male dressed in a red shirt, but what is reflected in this work is the “queer-ness” that existed in the then small, simple city of Macau in 1999. The background consists of the ubiquitous Senado Square at the heart of the city; the inclusion of the dim yellow forms a sharp contrast with the big area of red of the male’s shirt in the foreground. This striking use of colours gives us clues as to the real story: at night, the seemingly transient office worker, briefcase tucked under his arm, still runs around the town (making his living), just like a scene from a movie…
The visual language is direct and intense. During the late hours, the streets are supposedly empty and calm, yet the focus of the painting is boldly attached to the bright red colour. The streets have already calmed down, yet the concise motion lines in the background emphasise the main figure occupying almost the entire painting. It depicts the small city that is both at rest, yet is found to be very lively at night. In this way, the artist reveals to us the city that he knows through his sharp senses and observation.
Sleeping City I (2001) is another work of the artist from a similar period. This time, it is still direct but with a straightforward preface, as if the artist has picked up on another familiar zeitgeist. In the late hours, an idle man (probably from the working class) is found casually resting on a public performance stage. Placed next to him is a plastic carrier bag with his belongings. The city is drowsy and sleeping, just like its people… and its spirit. The artist portrays a true, naked side of the city without any reservations. On closer inspection, we again find ourselves in the same location of Senado Square.
This whimsical use of humour was already evident in his works at that time. He did not choose to praise his city with a glorious composition similar to that of a religious painting in order to attract the eyes of the outsiders who wanted to get to know the city. Rather, he abandoned any splendid interpretations and formed his own style very early on. Rather than presenting a craftsman-like depiction, it is more about expressing the social status quo on his canvases. Without the artist’s sincere heart and keen observation, we would never experience such artworks that depict the darker aspects of life hidden behind this dazzling city…(to be continued)