LIU Liu 刘流

 

selected works 作品精选


artist statement

Painting is to create a synthesis of emotions, which is also a product of all elements in the painting. So every detail of the painting matters and it is more important to connect all the details to serve the overall expression. In addition, we must keep these details to be expressed in as few languages types as possible because the fewer kinds of language we use, the more it can be trusted.

The reason why I choose the more delicate processing techniques and special watercolor techniques is because some certain special feelings can only be realized by the sense of solidarity and precision created by each detail. As for realistic issues, I have never had the desire for objective imitation. Like most of the painters, we choose to associate images with reality merely to provide a more general path to the feelings we have described. In fact, he collection of all the feelings is the theme of work.

If we look at all the material in the picture as a unit, my approach is to break down the color of the sensory world and reorganize it, a similar approach to Georges Seurat but without his mistakes. The problem with Seurat is that the way he restructured causes the material in the painting to deviate from the weight and the touch that our basic feelings apply to. I try to depict it according to my own sense of touch. But needless to say, Seurat is an excellent painter.

In fact, my approach is simply to translate the objective impressionism into painting experience summarized by the modernist painters and to use the ritual painting style of the Renaissance on color processing. In my opinion, the ethos of the Renaissance painting, such as the sense of ritual, meets my personal desire the most.

A sense of ritual is a feeling of religious experience. Compared with light, space is the most intuitive way to realize this feeling. Despite that, we will gradually feel tedious and even fall into the void if without light.

The concept of space is the source of our recognition of painting. Furthermore, painting is the mixture of our idea and sense of the reality. In the “ Tender space”, the space I depict is the reorganization of picture material by decomposing the colors, achieving a tactile sensation of tenderness. This tactile sensation is what I feel about the space at that moment and it is also a vital emotion.

From the perspective of beauty, human body should be the most perfect painting subject in any era. However, human body, just like many other objects, has been abstracted by us for a long time. In fact, the connection between all abstract elements is similar to our relationship to abstraction of material combination. That is to say, the nature of connection is supported by the same characteristics. For example, we extract the same symmetry feature from human body and other organic substances. In a way, we can say that the relative symmetry is a common characteristic of the relationship of organic life. Therefore, any symmetry in the picture, same as human body, should be treated as the ideal of human of all time.

We gently go from brightness into darkness, for romance always companies confusion. Romance is the commendable colors we meet along the way, while confusion is our unconsciousness of wondering around the long night when enjoying evolves in the emotional catharsis.

Since “The Angelus” by Jean-François Millet, countryside, churches and night bell have been disappearing. Despite that, we can still experience that kind of happiness in the evening after a day of work. Perhaps, the happiness does not come from our belief in a certain religion but we can be sure that whenever this experience comes, a deep inner satisfaction and inner peace arises.

艺术家自述

作为绘画的结果,就是创造一种感觉的综合,这个综合是画面中所有元素共同作用的一个产物。所以绘画的细节很重要,这些细节联系起来,服务于总体的表达更重要,并且我们要保持让这些细节使用尽量少的语言类型来进行表达,因为我们使用的语言种类越少,它的可信度就越高。

而我之所以选择较为细腻的处理手法和特殊的水彩技术,是因为一些特定的感受必须由每个细节所营造的团结感和精密度才能得以实现的。至于写实的问题,我从来没有抱着对客观模仿的愿望,和很多画家一样,我们选择和现实产生关联的图像仅仅是为了想要为通往我们所描述的感受提供一条更为普遍的路径。当然,这些感受的集合就是创作的主题了。

 所以假如将画面中的所有物质当做单元来看,我的做法就和乔治修拉很像,但是避免了他的错误,我们都是将感官世界进行色彩上的分解然后重组。修拉的问题在于他重组的方式导致画面中的物质背离了我们基本感觉所应用的重量和触感;我则尽可能地根据自己所需要的触感来进行不同程度的刻画。当然,修拉十分杰出,这点不用我多说。

我的作法简单说就是将客观印象主义到现代派画家们总结的绘画经验,主要是色彩这个问题上的,带入到文艺复兴时期那种具有仪式感的绘画方式中。因为在我看来文艺复兴时期的绘画能带来的精神气质是最符合我个人需要的,比如那种让人不会感到乏味的“仪式感”。

“仪式感”的意思就是让我们获得宗教体验的那种感受,相比光,空间的关系特点是实现这种感受最为直观的方式。但是假如没有光,我们将会慢慢感觉到索然无味,甚至使我们遁入虚无。

对空间的观念往往就是我们对绘画认同的来源,或者更进一步地说:绘画服务的是将我们对真实的观念和感官的相结合。“柔软的空间”的意思是说,我所描绘的空间是通过分解色彩的方式对画面物质的重组,以此达到柔软的触感。这种触感便是我对眼下这个空间的感受,也是一种保有生命力的情感。

从美的理想上来看,人体应该是任何时代最为完美的绘画题材,但是人体同其他事物一样,早就被我们进行了抽象的处理,而其实一切抽象元素之间的联系如同我们对物质组合关系的抽象,也就是说,联系的本质是由相同的关系特点作为支撑,比如我们从人体与其他有机物中抽取出了同样的对称特点,甚至我们可以粗略地说,相对的对称是有机生命共有的关系特点,所以在画面中的对称也应同人体一样,是人类任何时代美的理想。

当我们从明亮的空间逐渐深入地走入黑暗,是因为,浪漫和困惑往往是相关联的——浪漫在于路上经过的美好色彩;困惑在于当满足于这种情感宣泄时,却不知道正漫游在茫茫的黑夜中。

从让·弗朗索瓦·米勒那幅《晚钟下的祈祷》到今天,乡村、教堂和晚钟都变得越来越少了,不过每当傍晚,我们结束了一天的工作,仍然可以体验到那种幸福的感觉。或许这份幸福感并不来自于我们对某一宗教的信仰,但我们可以确定的是,每当这种体验来临的时候,我们的内心是如此的满足而沉静。

 


cv

1990 Born in Shenyang, China

Currently lives and works in Beijing

Education:

2018     

MFA, Print Department, China Academy of Fine Art, Beijing, China

2013     

BFA, No.1 Studio of Print Department, China Academy of Fine Art, Beijing

Exhibitions:

2018 

MFA Graduation Exhibition, CAFA Art Museum, China Academy of Fine Art, Beijing

Wanderlust, ART LABOR Gallery, Shanghai

2015  

The dimension of College, Chengxi Gallery, Beijing

2013 

A034 Open Studio, A034 Print Studio, Beijing

Once Meet, C5 Art Center, Beijing

2011 

V.A Space, V.A Art Space, Beijing

 

简历

1990 出生于中国沈阳

现生活工作于北京

教育背景:

2018        硕士,版画系,中央美术学院,北京

2013        学士,版画系第一工作室,中央美术学院,北京

展览:

2018   

中央美术学院研究生毕业作品展,中央美术学院美术 馆,北京

Wanderlust, ART LABOR画廊,上海

2015    

学院的维度,成溪画廊,北京

2013       

A034开放日展览,A034版画工作室,北京

一见青年,西五画廊,北京

2011       

V.A空间展,V.A艺术空间,北京