In 2024, Su Mei-Yu developed a “day effect / night effect” series using paints that react to black light.

This series, inspired by Chinese philosophy, highlights the relationship between man, nature and life, the harmony between heaven, earth and society.

The author Agnès Fabre was captivated by this work:

"SU Mei - Yu says she wants to paint "the memory of clouds on water", in other words, to paint the immaterial, unstable and moving imprint, which accompanies our gaze from top to bottom, from the sky to the earth, letting itself slide into the fluidity of the blades of colors drowned in water and pigments.

She refuses the brush and prefers to apply her colored paste with tools that she invents. Her main concern being to leave a trace, to transpose a visual and tactile sensation onto the canvas, she seeks the third party who, in her hands, operates this unspeakable transfer, this passage from the real to the symbolic, the metamorphosis of banality into sensitive testimony. She picks all sorts of leaves - philodendron, rhubarb, palm, as well as the paliurus hemsleyanus - collects unusual objects or scraps found on the ground or in a DIY store by Kim, her husband and painting partner.

These “objects”, most of the time intended for other uses, offer SU Mei-Yu the possibility of transgressing their initial form of which she retains only the most minimal trace. They are intercessors between the artist and the painting which occupies first place. The tool lends itself to SU Mei-Yu's gestures, but it is the painting, in the end, that will have the last word.

When SU Mei-Yu gets to work, a sort of role play begins between her and her support, where each expects a surprise, a challenge, from the other. The scrapers, claws or painting knives mix and knot with the plant deposit. SU Mei-Yu is discreet, seeking a sort of anonymity of gesture by letting the tool and the medium interact, almost without her knowing it. She becomes light, almost absent.

The imprint is nevertheless recognizable. It refers to a knowledge, to what the eye knows of the object or the sheet, but the artist seeks to relieve it as much as possible of its realistic substance. The gesture is lively, furtive. He places and lets slide the color that is superimposed on that of the underside. He deposits signs, the effluvia of a knowledge but never asserts a too readable figuration.

Agnès Fabre, Author, with her kind permission