Umbrella, what is for shelter and protecting. Live in this luxury and dissipation world. The external desire and internal baffle is covered. Perhaps only that unknown pride is protected or maybe is a kind of apathy. We hold the umbrella to search a kind of hope. But finally the hopeless and frailty is to be our age’s common symptom. We have no any energy power at all in this nation.

Our age’s young people have not suffered any history trouble. We suddenly catch the “innovate opening” train as we were birth. It is so fast; we forget everything before we remember. And then, we do not know what we scream for. It is like a magic in this fast changing country. An archaic street and thousand years old mountain suddenly disappear or can not be identified. Inside the strong, we adore fashion. We trust technology. The traditional culture is looking like very strange for most of us. This time is full of histrionic more than ever …

廖羽的作品企图在绘画与音乐之间建立可以往来的通道，这种尝试是艺术本源的相通性给人制造的假想。视觉与听觉的感官传达是否具有某种相似的情感，一直是很多艺术家试图探索的奥秘。其实音乐与绘画本身并不直接制造情感，而是人的内在需要与人的外在体验促使人企图通过音乐或者绘画这些所谓艺术来表达自我与世界。其实并没有艺术这件事，是人类需要在没有意义的进化中找到一点意义，来给没有意义的存在一个可以继续的理由。                         
江铭（批评家、策展人）


Liao Yu’s works in an attempt establish exchanging channels between painting and music, such an attempt is the scenario for people created by same origin of art. Whether visual and auditory convey senses have a similar sentiment, a mystery to a lot of artists. In fact, music and painting itself does not directly produce emotion, but the internal needs and external experience to the people attempt to express themselves and the world upon music or painting and other so-called arts. In fact, there is no a matter of art, which is a meaning in the absence of non-meaningful evolutionary, so as to give a reason to continue for the non-meaning existence.
Jiang Ming (critic, curator)

Je ne veux pas que mes contraintes soient celles d’un dessinateur de cartoon, je veux peindre mon propre langage constitue de signes qui expriment le cœur des cœurs. L’image est comme la jeunesse dans ses doutes pendant son processus de développement, suivant son environnement et sa condition de vie. Pendant sa croissance, jusqu'à l’âge mur, l’environnement l’instruit et influence. L’environnement familial a quelques mauvais facteurs qui affectent directement l’intégrité physique et morale.

“Why do I always paint woman? Because woman is a kind of symbol which, including some confusion, something cannot be told. I am the woman in each painting. I know that what the woman’s world is like. For me, man is another world.”