As an artist of the new generation who can integrate the world culture, Wang Yu always researches tirelessly new methods and techniques, new materials, endeavouring to merge concept and language, and she eventually makes the images that can't be reproduced become a vector of conceptual expression, embodying the mission and the responsibility that the young generation can hardly endorse, thus endowing her works with delicacy in visual language and a sharpness in conceptual expression that are highly commendable.  

She mixes a kind of organic medium and an industrial-like medium into one thing, forming something that is not what it seems, that can't be seized yet that really has an exciting effect on our nerves, a kind of chemical organic feeling, so that the softly three dimensional aspect of the flat painting gives to the viewer an extraordinary visual experience. Wang merges acrylic paint and polish into a common painting material that gives the canvas a feeling of playfulness, and this kind of experimental slightly acting painting of Wang Yu's works quite naturally produce an effect of ancient amber-like ritual. While you look at the painting, you will imagine under what emotional conditions the author achieved her painting, perhaps for a second, perhaps for ten thousand years.  

Among the young generation, Wang Yu stands alone, quietly, and even if her paintings often seem to happily represent things and people around her, we can still rapidly perceive in her works the profound search for culture that they contain. After this variety of cultural communions, Wang Yu quite easily achieve an attitude of aloofness, of standing by that every artist should nurture, the amplitude of her mind is laid back and lofty at the same time. Through a careful observation of small things, Wang Yu has refined her perceptions of the world and of the Universe: the feeling of distance among men, and the impact of globalization on humanity and nature, as well as the changes of the Universe and outer space, all things that have become subjects that artists need to represent through their creations. In her work " Leader ", a " great man " with a stretched body carrying a " small man " with stretched arms and legs on his back, looks hesitating, seemingly looking for a direction. Apart from its visual effect, the works brings to the viewer’s mind interrogations: what is the force that makes these two characters on the painting so weird? Could they not be human？

The work " Good Mood ", with a young girl’s hair floating in the wind, her rosy lips, her big animated eyes makes for a wholly fresh painting. The picture " Other Kind " shows the viewer an image of two men with horns on their heads leaning on each other.  If we look at it with the work’s name in mind, we can broadly deduct that the artist creative expression is bent on homosexuality: is it because of the horns on their heads that they are called “other kind”? In the context of globalization, the liberal and open culture challenge to traditional values, and its necessary impact on reconstructing societal order, is a subject worth of the reflections of the artist and the viewers.  

The "apple" in western civilization is something that is extremely mysterious and symbolic, representing sexual desire, original sin, temptation as well as fantasy and all kinds of irrational thought, and often a vector for defying authority and opening new grounds, breaking barriers, and to a certain extent, it is a feminine idealization (there are too many works in Western art history related to apples). Wang Yu’s artistic background is Western, and she brings the apple of Western history and illusions to Dialogue space gallery "apple corner", putting the apple of fantasies right into the Chinese reality, giving it a new social significance, and more, turning it into a unique conduit for the artist to express her social concerns at the same time.