Leading Chinese figurative artist Tsui Tin Yun’s work has always been concerned with memory, and more specifically, memories of the Cultural Revolution, which was crucial in shaping his life and art. He was born in Shanghai in 1945 and moved to Hong Kong in 1986, so lived through the entire period. Tsui presents a very personal view of the world in his paintings; at the same time they provoke a response on wider, universal social and political issues.

In the 1990s, Tsui painted in a hyper-realistic style, using powerful Chinese symbols and strong colours to contrast ancient and modern China. Beautiful nude models were depicted against a background of traditional Chinese Imperial robes, half hidden by heavy wooden doors or seated on locked chests, symbolizing their repressed role in the feudal system. In another series, raw sensuality and violence combined in paintings of seductive female figures wielding assault rifles or with cartridge belts slung across their waists, evoking the terror of the Cultural Revolution.

Tsui’s recent work is much more subtle. He shies away from the loud and colourful imagery of much of contemporary Chinese art, choosing instead a more neutral, minimalist palette of black and white, delicate greys and pastel shades, and a semi-abstract style. Whereas in his previous work, the images were clear and visual effect was immediate, now the mood is less strident, more difficult to read. His portraits and nudes are inspired by memories, with visual fragments appearing to surface from his unconscious as if in a dream, offering brief glimpses of the past.

Tsui explores the nature of memory, with all its uncertainties and ambiguities. He paints spontaneously, focusing on elements of memory that surface in a combination of reality and illusion. The expression on a young girl’s face could be interpreted as surprise, or terror, or confidence, it is up to the viewer to decide. Furthermore, in some cases Tsui divides a portrait into four separate canvases which can be rearranged in different ways, leading to unexpected perspectives. No matter whether he is depicting a state leader such as Mao Zedong or an ordinary person, the effect is intriguing and disquieting.

If on the surface Tsui’s figures look pale, peaceful and serene, they still reflect the underlying anxiety associated with the artist’s lingering memories of the Cultural Revolution. His nudes are often solitary, they appear young, scared and vulnerable. In the background of many of the paintings, dark shadows create tension and unease.

In his new work, Tsui would like to leave more space to the viewer, allowing him to interpret symbols and use his imagination. Some images resonate on different levels, evoking different periods of history and contrasting emotions. In one triptych, the queue of a Qing Dynasty mandarin is connected with the hair of a young girl in the present day. The symbolism suggests that we are inextricably linked with our past.

Tsui’s artistic technique has always been very expressive. He starts with a base of acrylic mixed with gesso on the canvas, then paints in oil paint on top and sometimes also Chinese ink, as he likes its fluidity. His recent paintings employ elements of traditional Chinese paintings with its emphasis on brush strokes and an absence of strong colour. As well as looking back at his memories, Tsui also seems to be moving consciously back to his Chinese roots.