1966年出生于中国西安，80年代在北京的中央美术学院学习油画，1996年研究生毕业于中央美术学院油画系。1988年至今，任教于中央美术学院油画系。喻红最初接受的是写实绘画技巧的训练，后又发展出其独具的视觉语言，喻红作品的主题核心一直是“人性”与人是如何在这个社会、世界成长和生存，透过画笔下的人物表述其投入于现实和社会的关注情怀和个人剖析。
喻红的创作灵感常来自个人生活以及周遭人们的日常，通过艺术建立起一个将对时间的感受和记忆巧妙融合的世界，并且善于捕捉人物因自身经历而散发、演变的情绪。作品“目击成长”（1999-持续）作为一种生活记录，也触及了随岁月推进的世界；喻红亦常使用现成图像作为出发点，将拍摄好的照片以自己的视角按照构图上的相互关系重新组合放置，强调记忆的内涵主观，探讨了现成图像是如何被淡化或强调的。到了形式感强烈的史诗性“金色”系列（2010-2011）的阶段，画面结构更进一步地体现出艺术家长年对中国传统绘画、敦煌、克孜尔千佛洞壁画以及西方传统绘画的钻研，从而串联起艺术史中的传统和当下对现实生活的感悟。“忧云”系列（2013）在采访六个个体的基础上陈述他们的内在、故事，围绕在一共通的主题—“忧郁”，喻红尝试表达的不仅是这六位个人的哀愁，而是更普遍地去感受我们身处的社会，进而理解忧郁人们的真实内心，喻红在这系列的工作态度既感性又谨慎，在看似晦涩的人物情绪背后又都挖掘出实为开阔鲜明的精神力量及空间；而同时期的作品《云端》（2013）则是艺术家对联结空间概念与日常生活景象的尝试，以更戏剧性的方法传达生活中充斥的不确定性。承接《云端》开启的想象维度，“平行世界”系列（2014-2015）寓言般地游弋于幻象和真实之间,可说是喻红绘画阶段的转折点，藉由艺术家独具的丰沛想象力的同时,亦传递了看似不同的国家、地域和文化，最终作为一个共同体，在许多部分其实是互相影响和纠结的观点，喻红以平行建构的方式感性地糅合宏观和微观的视角，最终关心的仍旧是群体中作为人的处境，人和人的遭遇是支撑喻红作为艺术家创作不间断的关键点。
Born in 1966 in Xi’an, China. In the 1980s she studied oil painting at the Central Academy of Fine Arts (CAFA) in Beijing and graduated with a post-graduate degree from the oil painting department in 1996. Since 1988 she has been a teacher in CAFA’s oil painting department. From the start, Yu Hong received training in realist painting, which over time would translate into her own individual aesthetic language. The core subject of Yu Hong’s paintings has always been human nature, and how human beings grow and exist in this society, in this world. Those figures, painted down by her brush express the feelings and self-analysis of people thrown into the reality of society.
The spirit of Yu Hong’s creation most often arises from her personal life and the surroundings of quotidian existence, constructing a world which ingeniously fuses together perceptions of time and memories through art, as well as adeptly seizing the sporadic evolution of the emotions of human self-experience. The series “Witness to Growth” (1999- ongoing) acts as a sort of record of life, while touching upon the current events of each year of her life. Yu Hong often uses existing images as a starting point for her art, taking photographs and her own point of view to create compositions and rearrange them in renewed combinations which emphasize the objective connotations of memory, and investigate the way in which pre-existing images can be re-used and strengthened in new compositions. In the “Gold” Series (2010-2011) of paintings, this feeling for form takes on its most poetic level. In this series, the artist’s intensive studies into the traditional Chinese paintings of Dunhuang, the murals of the Kizil Cave complex and traditional Western painterly traditions take form, interweaving a sensitivity towards art historical traditions and contemporary daily life. For the series “Wandering Clouds” (2013), Yu Hong interviewed six individuals asking them about their internal states, their personal histories, all circling around the topic of “clouds of anxiety”. Yu Hong was attempting to express not only these six people’s individual sorrows, but also the universality of the experiences of human beings in society, and to understand the core of people’s depressions. In this series, Yu Hong worked in a state of deep sensitivity and circumspection, looking behind an individual’s seemingly obscured emotions and digging these out to realize a fresh and expansive spiritual power and space. Executed during around the same time, “On the Clouds” (2013) was conversely an attempt by the artist to combine a spatial concept with the landscapes of daily life, using a more theatrical method of expressing the uncertainties with which life is filled. Continuing from the same imaginative dimension as “On the Clouds”, the “Concurrent Realms” (2014-2015) series of works, floated into a world of fantastic fables and reality, it can be seen as a turning point in Yu Hong’s painting career, in which the artist’s uniquely majestic imagination along with various disparate nations, regions and cultures are ultimately combined together to form a single entity. In many aspects, it is in fact a linking together of influences and structural points, and Yu Hong utilizes parallel constructs to emotionally blend together macro- and microscopic points of view, yet still ultimately focusing on the same circumstances of being an individual within a larger groups, affirming that the encounters between humans will continue to sustain Yu Hong’s creation as an artist and remain her focus.
