A Visual Memoir

Paintings that preserve the emotional traces of a life lived, inspired by memory, travel, and the places we carry within us.

2026
Saatchi Art — Chief Curator's Top Pick
Not Even a Million Doors (2026)
Acrylic on canvas

A Collection in Progress :

Oh, Chandelier ,Chandelier!

She looks up and sees a beautiful chandelier shimmering in every color she could imagine, shades of blue, green, coral, purple, and countless others, each piece of sea glass catching the light in its own way. Before she realizes it, she finds herself standing among its delicate strands of glass beads and pearls. Surrounded by this sea of color, time slows. She refuses to leave. She lingers there, gazing upward, as though the chandelier has become a world of its own.

Chandelier in Casa Batlló (2026) Mixed media on paper

Look at the Chandelier! (2026) Oil pastel on paper

Oh, I Love the Chandelier! (2026) Oil pastel on canvas

Research & Inspiration

Oh, Chandelier, Chandelier emerged from an accumulation of architecture, travel, literature, cinema, music, and everyday observation. Rather than beginning with a single image, the paintings developed through fragments of lived experience that gradually converged into a shared emotional language.

The series was sparked by a simple remark: "Look how beautiful the chandelier is." From that moment, I began noticing chandeliers everywhere—in museums, historic homes, restaurants, and churches. What first appeared as decorative objects slowly became symbols of devotion, memory, and the quiet people who illuminate our lives without asking to be seen.

Architecture has long been central to my practice. Works such as Chandelier in Casa Batlló grew from photographs taken during my travels, but they are reconstructed through memory rather than documentation. Influenced by Gustav Klimt's luminous ornamentation, the emotional atmosphere of Michael Cacoyannis' Stella (1955), Pablo Larraín's Maria (2024), and Patti Smith's Devotion, these paintings explore how beauty, love, and quiet acts of care become inseparable from the places we remember.

Music also forms an essential part of my process. While creating this collection, I repeatedly listened to Guitarra Azul's Mariposa, allowing its warmth and rhythm to shape the emotional pace of the work.

I think of painting as a language of encoding and decoding. Every work begins long before the first brushstroke, formed through conversations, films, books, architecture, relationships, travel, and memory. These experiences become embedded within the paintings, inviting viewers to discover their own stories within them.

Project in Progress: Home- A Joint Collaboration with Reisha Savadatti

Selected Collection: People Like Flowers

Orchids: A Quick Oil Pastel Study (2026) Oil Pastel

Tulips: A Quick Oil Pastel Study (2026) Oil Pastel

My Favorite Flowers Are Lilies: A Quick Oil Pastel Study (2026) Oil Pastel

The Studio (2023)
Oil on canvas

That summer, after COVID, I decided to return to painting with oils. I painted The Studio during one of my summer classes, unaware that it would become the beginning of something much greater than I could have imagined.

Looking back, this painting feels almost prophetic. Three years later, I realized that painting had never really left me; it was still where my passion lived. This class gave me the confidence to trust myself again after years away from painting, quietly laying the foundation for the artist I am today.

Henri Matisse was one of my earliest inspirations, Instead of painting the studio as it appeared, I painted it as it felt. The colors came entirely from intuition—perhaps they reflected something I was feeling at the time more than something I was seeing.

During the critique, my painting stood apart. None of my colors resembled the white studio with its gray floor that we had been asked to paint. Some classmates remarked that my oils looked almost like watercolor. They were right. I intentionally worked with generous amounts of oil, allowing translucent layers to soften the paint until it behaved almost like watercolor. Rather than resisting that quality, I embraced it.

Today, I see The Studio as an invitation. Wander through the space. Look beyond the pillars. Imagine what lies around the corner. If an ordinary white classroom could become a place like this through imagination, perhaps the same is true of the world around us. The most ordinary places often hold the possibility of becoming extraordinary—we simply have to learn to see them differently.

Artist Biography

Stephanie Yiyang Yu is a Chinese artist based in New York City whose work explores memory, travel, architecture, and the emotional landscapes of everyday life. Working primarily in oil, watercolor, and mixed media, she transforms lived experiences into dreamlike visual memoirs, where places become vessels for memory and color becomes a language of emotion.

From an early age, Yu developed a deep fascination with poetry, foreign languages, writing, music, cinema, and art—interests that continue to shape her multidisciplinary practice. Before dedicating herself fully to painting, she worked across creative marketing and public relations while earning a bachelor's degree in Communication and International & Global Studies, with a concentration in European and Central Asian regions, from Rutgers University–New Brunswick. She later pursued Fashion Trend Investigation at IED Barcelona, where her interest in visual culture and storytelling continued to expand.

Throughout these years, extensive travel became an essential part of Yu's creative process. The streets she wandered, the architecture she observed, and the fleeting encounters she experienced became an ever-growing archive of memories that would later find their way into her paintings.

Yu returned to oil painting in 2023 and committed herself fully to her practice in January 2026. Within months of her return, her painting Not Even a Million Doors was selected as a Chief Curator's Pick by Saatchi Art, marking an important early recognition of her work.

Today, Yu's paintings are guided by intuition as much as observation. Influenced by travel, music, cinema, literature, and her multicultural upbringing, she creates poetic spaces that invite viewers to wander through memory, imagination, and the quiet beauty of ordinary places.

I paint facades as portraits, believing that every place remembers someone.

EXPLORE MORE

Visual Memoir

Visual Memoir is an ongoing body of work exploring memory, identity, and the emotional landscapes we carry within us. Through painting, photography, film, and writing, I transform architecture and everyday objects into portraits of people, places, and moments that continue to live in memory.

Title
Amsterdam Billiards, April (2026)

Year
2026

Visual Memoir

Casa Pere Brias, Barcelona(2026)

Crema Plaza Study (2026)

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POESÏA: Love, Lisboa (2026)

Amsterdam Billiards, April (2026)

Acrylic on Canvas

La Perla (2025)

Not Even a Million Doors (2026)

Venice Beach (2026)

Façade, Milano (2026)

Reliquia: It Came to Me in a Dream (2026)

Canvas Works

I love working with oil because it mirrors the way I see life. It asks for patience, rewards time, and leaves room for change. With oil, every brushstroke can be reconsidered, every mistake reimagined, and every painting allowed to evolve at its own pace.
— Stephanie Yiyang Yu

Dream State (2026)
Oil on cotton canvas · 30 × 40 cm (12 × 16 in)

The Studio (2024)
Oil on canvas

Santa Maria Maior, Lisboa (2026)
Oil on canvas

Reliquia (2026)
Oil on canvas

Hard Century, Paris, Wine (2026)
Oil on canvas · 30 × 30 in

Canvas Works

Oil

  • Dream State (2026)
    Oil on cotton canvas · 30 × 40 cm (12 × 16 in)

  • Reliquia (2026)
    Oil on canvas

  • Hard Century, Paris, Wine (2026)
    Oil on canvas · 30 × 30 in

  • The Studio (2024)
    Oil on canvas

  • Santa Maria Maior, Lisboa (2026)
    Oil on canvas

Acrylic

  • Reliquia: It Came to Me in a Dream (2026)
    Acrylic on canvas · 24 × 30 in

  • Not Even a Million Doors (2026)

  • Venice Beach (2026)

  • Two Sardines in a Can

  • La Perla (2025)

  • Walk, Don't Run

  • Red String Theory

Works on Paper

Prints Available

  • Amsterdam Billiards, April (2026)

  • Handpan, Middle Wulumuqi Road
    手碟,乌鲁木齐中路 (2026)

  • POESÏA: Love, Lisboa (2026)

  • Crema Piazza Study (2026)

  • Casa Pere Brias, Barcelona (2026)

  • Playroom (2026)

  • El Manjar, Ciudad de México (2026)

  • Next to Plaza Popocatépetl (2026)

  • After Gaudí (2026)

Ceramics

  • After Gaudí Vol. III (2026)

  • Reliquia—Relic II (2025)

Mixed Media

  • Pastel Supper (2026)

  • Mighty Stroll at Battery Park (2026)

  • NYC Visual Notes

  • Lisboa Visual Notes

  • Façade, Milano (2026)

Photography

  • Strolling, El Raval, Barcelona

  • After Antoni Gaudí: Between Presence and Absence

Shop My Art in Person

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Shop My Art in Person *

A selection of my fine art prints is available at Soho News International.

186 Prince St
New York, NY 10012

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