Born in 1966, Yu Fan is a typical sculptor. He recounts his thinking and query about himself and outside world in his skillful sculpture language, delivers the communication between individual and society. Even covered by skillful techniques, his early works also show his understanding about shape and thing, and obstacles that cannot be overstepped by expression. If it is hard or impossible to express an object in its real sense, then what can it do?

　　All his works of recent years, such as “Horse with Silver Mane” (2002), “Saint Sebastian” (2001) and early work of “Hello” (1999), have been endowed with a thick sense and color uniquely possessed by BMW saloon car mysteriously, and are covered by dazzling, desiring shine, no matter the meaning of work is implied or clear, possesses political, religious heaviness, or is as pure as fairy tales. It is this shine that liberates Yu Fan from the deep valley of eager for expression. Under the shine, the obscurity and hesitation in early works is dissipated. Yu Fan hides his skills learned for so many years like a fox. In the world he creates for himself and as well as us, we feel lost at what he has created elaborately and the commonness under the surface of it. We indulge into the “real” and “false” surface again. Yu Fan lures us into his trap magically, and tells us that he has been confused.

　　The familiar figure and unfamiliar historical scene in Yu Fan’s work confuse our fragile nerves. The everlasting confusion is the art and life we try to avoid and seek to validate.

　　Ai Weiwei

　　2003