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In China Guardian's 2023 Autumn Auction "Contemporary Art Night Session", Liu Ye's "Cotai Boulevard" was successfully sold for 57.5 million yuan, becoming the second largest auction of Liu Ye's works. Liu Ye's other career node work "Ruan Lingyu No. 1" is also eye-catching, and the final transaction price is 20.93 million yuan. 
Ye Liu, B1964）
Cotai Strip
1995 year.
Acrylic oil on canvas.
170×200 cm
Price realised: RMB 57,500,000
Artist 2**
In 1994, Liu Ye returned to China, and the following year the Ming Jingdi Gallery began a three-year study of Liu Ye's paintings. Also in 1995, Liu Ye created this "Cotai Boulevard", and all the works created by Liu Ye from 1991 to 1995 were only 170 200 cm in size, and "Cotai Boulevard" is one of them.
Turning to the canvas, in front of the stage, there are small Mondrian albums and Magritte's top hats, which have appeared in Liu Ye's works many times since 1995, becoming the most common representative elements in Liu Ye's paintings in addition to Mondrian's works themselves, and the cover of the album is Mondrian's "Red, Yellow, and Blue Composition" created in 1927, which can be used as the most concise expression of his color theory. The thin walls of the windows behind the stage backdrop, and the ratio between the window frames and the glass are clearly contrary to logic, and Liu Ye's works in the 90s are often full of surrealism and metaphysics. Vermeer's use of windows to bring in light and serve as a junction, and then the use of contrast and color to shape and elaborate on structure is a hallmark of Vermeer, which Liu Ye echoed in his early works, as well as this one. And on the stage, the boys and girls who are the protagonists are illuminated by the light, they have wings, round limbs, uniform movements, red fluttering cheeks, and big smiles on their energetic faces. Inspired by Alexander Rodchenko, Liu Ye became interested in the formal beauty of the airplane in the poster, and finally, he added a small plane burning and rising smoke in the distant sky, and now the romance, peace and beauty of the picture are broken, and a subtle sense of contradiction is generated. Break well, it has a chance to be magnificent, a chance to get close to the epic. 
Ye Liu, B1964）
One of Ruan Lingyu
Year 2002.
Acrylic on canvas.
60×45 cm
Price realised: RMB 20,930,000
Since 2002, Liu Ye has painted many portraits of famous women, including Ruan Lingyu, Zhou Xuan, Zhang Ailing, Teresa Teng, etc. "Ruan Lingyu No.1" is the beginning of this series of female portraits, and this actress, who is separated by half a century from him, has become his muse, a theme that cannot be ignored in his creation, and also represents an important turning point in Liu Ye's creative career. In the movie "The Goddess", Ruan Lingyu is not only a loving mother who pours all her love into her children, but also a woman who is forced by life. Coincidentally, no book is written, and the joke of fate shines from the story into reality: although she is a hot and popular superstar, she has tasted the bitterness and bitterness of being from a humble background and meeting unladylike people, and she died at the age of 25. Despite Ruan Lingyu's ill-fated fate, Liu Ye did not deliberately portray her misery or emphasize her "victim" status, but instead used a smoking scene in her masterpiece "The Goddess", the pinnacle of China's silent film era, to freeze the style of the legendary woman a hundred years ago. In the painting, Ruan Lingyu is wearing a dark high-necked cheongsam, with a buckle on her chest, a young round face, and a smoke ring from her mouth spiraling upwards. The artist adopts a slightly colorful shape, which forms a fierce collision with the tragic atmosphere of the character's own fate. 
The image of the picture seems to be clumsy, but it is dull but clear, showing a dignified sense of sculpture;In terms of painting method, Liu Ye emphasizes the technique of flat painting, which makes the picture more flat. Liu Ye weakened the surrealist juxtaposition of imagery in his early works, leaving only one figure in the picture and a large monochrome background in the background, "This streamlined treatment of the background seems to be somewhere between the abstraction of the dream face and the blankness of traditional Chinese painting." Liu Ye shows a kind of lightness to suffering, showing "elegance under heavy pressure" on a tossing and lonely road. The premise of this "light" construction is inner self-esteem and spiritual integrity, from "refusing to show one's own trauma" and "avoiding the status of one's own victims", from simplicity and restraint, from the interweaving of brightness and sorrow, from the eternal fairy tale recipe.
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