Liu Hong Yuan, Happy Migrant, 2004. 80 x 117 cm

After rushing down the elevator from the forty-something level, checking emails on my mobile, forcing my way through walls of neon signs, heading through Hong Kong’s traffic jam, I finally enter the Schoeni Art Gallery. Right from my first glance at Liu Hong Yuan’s paintings I get a feeling of warmth, quietness, and rest. What is it that suddenly makes me feel human again rather then a consume-business-high-tech-hunted animal?

"A Collection of Virtuousness" at the Schoeni Gallery is Liu’s first solo exhibition. Liu presents her characters in traditional Chinese costumes and theatrical make-up. Although the figures seem restful and unemotional, a closer look at their eyes, or especially their hands seems to tell an ancient story. I feel as if Liu is telling me about her whole experience in life, and about China. This happens without any pressure or rush, like I’m watching a stage play. Liu uses a nowadays rare painting technique: egg tempera mixed with oil. Her technique is reminiscent of early Dutch masters.

But Liu herself isn’t old fashioned at all. She recently graduated from the Beijing Central Academy of Fine Arts. She has been in several group shows in Beijing since 1997. But she had to wait a few years before this show at the prestigious Schoeni gallery in Hong Kong’s SoHo. Liu is the first artist found and managed by Nicole Schoeni, who recently took over the gallery from her father, Manfred Schoeni. One thing is for sure: Liu Hong Yuan has that kind of mixture of passion, very detailed technique and peace in her work, which not only calms down a distressed city person like me, but has the potential to become one of the most extraordinary newcomer artists in Hong Kong.