Cao Yong
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Cao Yong

Cao Yong reads inside his bedroom/studio at his La Habra Heights home. Forced to flee China in 1989, he now aims to bridge East and West in his paintings, and has even returned to open his own gallery in Beijing. (Robert Gauthier / Los Angeles Times)
Cao’s “Villa Encantada” (2004). The artist who once painted darkly surrealistic visions shifted to painting benedictions to the good life he eventually found in the West. (Cao Yong Editions Inc.)
“After Shower” (1999) shows Old Town Pasadena. Such landscapes are big sellers for Cao. (Cao Yong Editions Inc.)
“City Light” (1999). The perception by some in the art community is that Cao changed styles to focus on paintings that would make him money. But Cao says his shift in style reflects his shift in inspiration: “It tells the change in my own life experience, from the closest experience of death, to the happiness of life.” (Cao Yong Editions Inc.)
Cao focuses his attention on the landmark pier in “Santa Monica” (1998) . (Cao Yong Editions Inc.)
“Catalina” (1998). (Cao Yong Editions Inc.)
Cao painted “To Seek Buddha I” in 1990, shortly after he fled China and during a period in which he portrayed darker images. (Cao Yong Editions Inc.)
Cao used oil on canvas for “The Night of Kailas” (1988). (Cao Yong Editions Inc.)
“Manasarovar of Shadow” (1987). Cao’s early works were suffused with spirituality and sexuality, and shrouded in death. (Cao Yong Editions Inc.)
“The Pilgrim VII” (1986) from Cao’s “The Split Layer Of Earth -- Mount Kailas” series, which shows forbidding moonscapes populated with red-robed monks. (Cao Yong Editions Inc.)
Cao Yong’s “The Split Layer Of Earth -- Mount Kailas -- The Pilgrim VIII.” An exhibition featuring Cao’s art will be at Art Brillant in Beverly Hills from April 1 through May 6. (Cao Yong Editions Inc.)