Lawrence Tzuchi Yun

Lawrence Tzuchi Yun 恽子奇

Department of Visual Arts
California State University, Fullerton
恽子奇,祖籍江苏武进,生于台湾台北。台北市复兴美术工业学校包装设计系(1988),美国加州长堤州立大学版画艺术学士(1997)及绘画艺术硕士(2001)。美国加州富乐顿州立大学视觉美术系终身教授。从1997年起十七年来,他发表了十四次个人作品展,参与了超过五十次邀请展,展出地点包括具有代表性的洛杉矶市立美术馆(LAMAG)和洛杉矶国际机场(LAX)。恽子奇作品被众多私人和公家机构收藏,其中有索尼电影以及富兰克林造币公司。另外美国电视影集《奔马行运》(家庭票房)、《法外情真》(哥伦比亚广播公司)、《神奇律师》(美国广播公司)、《霹雳游侠2008》(国家广播公司)和电影《拜见岳父大人2 》(环球电影公司)、《奶爸安亲班》(哥伦比亚电影公司)、《变形金刚》(梦工场)等等都可看到他的画作。


Lawrence Tzuchi Yun, born in Taipei, Taiwan with an ancestral origin from Wujin, Jiangsu Province, China. Packaging Design emphasis from Taipei Fu-Hsin Trade and Arts School (1988), Bachelor of Fine Arts in Printmaking (1997) and Master of Fine Arts in Drawing/Painting (2001) from California State University, Long Beach. He is a Professor of Art in the Department of Visual Arts at California State University, Fullerton. Among 14 solo and over 50 invitational exhibitions in 17 years since 1997, he has been exhibiting in notable galleries and museums including Los Angeles Municipal Art Gallery (LAMAG) and Los Angeles International Airport (LAX). Yun’s works are represented in various private and public permanent collections, including Sony Pictures and The Franklin Mint. Additionally, his work can also be seen in television programs, including Luck (HBO), The Guardian (CBS), Eli Stone (ABC), and Knight Rider 2008 (NBC), and movies, including Meet the Fockers (Universal Pictures), Daddy Day Care (Columbia Pictures), and Transformers (DreamWorks).

In the style of realism, the watercolor series reveals the intriguing relationship between culture and nature--manmade creation versus natural phenomena. Focusing on the plant engineering and manufacturing of nursery culture as a both artificial and natural hybridization between man and earth, these newly orchestrated images aim to deliver a miracle-grow sensation that surpasses real. The paintings were meant to be aesthetically pleasing, yet the deliberate awkwardness of the portrayed flower arrangements were manipulated within the composition to convey subtle messages that triggered the audience to question the imagery.