Killer

Marked by strong personal iconography, Yang Fu-An’s works may appear somewhat raw in form, yet their content strikes directly at the heart. His painting subjects often draw from online imagery, situational narratives, primal emotions, and non-mainstream phenomena. Whether through the juxtapositions within his compositions, the semantic charge of his forms, or the way he applies color, one can clearly sense his assertion of subcultural phenomena as a driving force in painting.In his everyday life, Yang refrains from observing with a beautifying gaze. Instead, his impulses, instincts, and psychological needs feed directly into the work—not as mere technical exercises, but as integral forces shaping each painting’s completion.