亚努斯之门——于方个人展
the gate of janus—solo exhibition of yu fang

2026年7月18日，展览《亚努斯之门——于方个展》于北京798艺术区又生空间CYCLE SPACE开幕。成长于全球化浪潮与本土意识觉醒交织的年代，于方这一代青年艺术家始终在跨文化的缝隙中寻找独特的视觉语法。又生空间的最新个展——亚努斯之门，于方以古罗马双面神之名串联最新系列作品，这位一面朝向过去、一面望向未来的门神，守护着着于方在古典与当代、东方与西方之间开辟的视觉通道。 于方的新作最引人注目之处，在于他以麻色素胚为基底，将绘画推向了一种介于壁画、雕塑与织物之间的中间状态。此前，于方的“洞喻”系列以园林与雕塑为基本母题，借助太湖石的结构逻辑对西方古典雕塑进行解构与重组。而在本次展出的新作中，园林的窗洞与假山消失了，取而代之的是一种“看不见的墙”。素胚粗糙而温暖的质地本身，就成为一道阻隔与显现并存的无形屏障，纤维肌理替代了传统画布的平滑表面，使每一笔颜料的附着都如同壁画在墙面上的沉积，既有时间的包浆感，又有织物的呼吸感。这种基底的选择，让于方的油画获得了某种介于壁画与绢本之间的暧昧质地，画面不再是悬挂在墙上的图像，而仿佛是从墙面上生长出来的故事。 On July 18th, 2026, ‘The Gate of Janus - Yu Fang's Solo Exhibition opened at CYCLE SPACE in the 798 Art Zone, Beijing. Growing up amidst the confluence of globalization and a resurgent local consciousness, Yu Fang’s generation of young artists has long been searching for a unique visual syntax within the fissures of cross-cultural exchange. In The Janus Gate, his latest solo exhibition at Cycle Space, Yu Fang invokes the name of the ancient Roman two-faced deity to thread together his newest body of work. This guardian of thresholds—one face turned toward the past, the other gazing into the future—stands watch over the visual passageway Yu Fang has carved between classicism and contemporaneity, between East and West. The most striking aspect of Yu Fang’s new works lies in his use of raw linen canvas as a foundation, pushing painting into an interstitial state that hovers between mural, sculpture, and textile. His earlier Cave Allegoryseries took the garden and sculpture as its central motifs, deconstructing and reassembling Western classical statuary through the structural logic of Taihu scholar’s rocks. In these new pieces, however, the garden’s latticed windows and artificial rockeries have vanished, replaced instead by an “invisible wall.” The rough yet warm texture of the raw linen itself becomes an intangible barrier—simultaneously obstructive and revelatory. The fibrous grain supplants the smooth surface of traditional canvas, so that every stroke of pigment adheres like sediment upon a wall, evoking both the patina of time and the breathability of cloth. This choice of substrate lends Yu Fang’s oil paintings an ambiguous quality suspended between fresco and silk scroll. No longer mere images hung upon a wall, the paintings feel as though they are stories grown directly out of the wall’s very surface.