Article/An Xixiang
Tianlian 's smartness lies in what you can see from her portrait: under the background of neutral green and sandalwood-colored lattice, a girl is in a beautiful iris shirt with black lace collar, hair neat and spectacles frame traditional; her little rosy lips appeal two butterflies falling on shoulders. Hardness goes with softness; plainness hides vigorous color.
I first made Liu Tianlian 's acquaintance in the 1st-Hi21 Young Art Fair in March 2014. Among thousands of exhibited works, her two pieces were hanging at a side corner of the exhibition hall on the second floor. As common as her sika deer in Chinese paintings, the composition space presented quite a modern perspective instead so that I could not help but take a second look. Later on, I met her in December in the same year when The Fourth China New Painting Award was held. There was still a deer in Tianlian 's entry but standing out this time: a cubic space was decorated with pale blue strokes, scarlet frame and plaids on blue; in the center a deer 's heart was cut open and vines and grass covered the incision. Depend on this work Big Heart characterized by clear color and certain conceptual meaning, she won the bronze medal. One judge Mr. Wu Jin commented: “Liu Tianlian 's work has broken the boundary of traditional meticulous brush paintings and introduced a lot of new concepts and artistic ideas, but the whole picture still looks calm and natural.”
In March 2015, Tianlian held her first solo exhibition in Beijing. What surprised me in such productive works was Jamming series, which always brought pictures to an abrupt end before they were unfolded completely, like a digital image pulling a big half of meaning-loss color lines due to data corruption. In final creation of those works, she made Sluggish Love, adding new meaning into jamming lines--procrastination. Then subsequent works like Missing are in the repeated use of this technique as a writer in the repeated and profound use of a semantically rich vocabulary.
When Liu Tianlian proceeds her works to Four Times’ Beating Skeleton Demon, Interrupted Dream in the Garden, Capture and The Reflections on Virgin Mary, some music synaesthesia begins to emerge, which I’m not sure relates to her experience of playing piano when she was young. The overlapping and weaving of pictures ' slicing and wiredrawing reverberates like boundless folds of operas. This is a bit like film montage, which takes off the time from different lens and overlaps them in two-dimensional screen. At this point, I think the series’ promotion almost reaches the peak of perfection. But when we met a few days ago, she gave me an installation in progress--she broke a piano, painted on the keys and extended colors to the hammer. In this way, she presented the feeling from Jamming Series easily and dimensionally.
In addition to Jamming series, Tianlian 's exploration of mirror space is also very interesting. From The Life in Mirrors and A World in Mirrors to the Kaleidoscope series, the world in mirrors she depicts has been constantly challenging the complexity of space and sense of fantasy from dislocation, symmetry and folds. Her unique ability of abstract thinking is remarkable although I do not know where this series of works will sublime.
As for her creation centered on traditional themes like Prince Nezha 's Triumph against Dragon King, Interrupted Dream in the Garden and Birds Paying Homage to the Phoenix, the most impressive lies in the fashionable interpretation in the traditional text. I do not know whether it is appropriate to use the word "fashionable ", but it 's undoubtedly that Liu Tianlian has provided such a bridge to introduce the long-lost tradition into the present life and aesthetic.
An Xixiang= An, Liu Tianlian=Liu
I made an installation in an epiphany
Liu: Recently I have made an installation.
An: It is to re-appear your work on the piano.
Liu: Actually I dismantled a real piano, painted and then installed it.
An: That’s great supplement to your work. It is rare for an artist to perform appropriately and satisfactorily in installation expression but I think this work is much mature in this aspect.
Liu: I don’t like blunt installation. Originally I wasn 't painstaking to make one; but it was really a very funny experience. Others gave this piano to me but its tone had not been adjusted properly for several times. Because of studio demolition and relocation, I would like to sell it or not, so I sent out some relevant information in our demolition group. Usually, group members would make panic purchase of secondhand goods even very shabby furniture. But no one bought the piano although it was just 2500 yuan. Anyway, I thought I 'd better dismantle it and make another work, so that afternoon I set about to polish off the smooth lacquer on the keys and finally it took me two days to paint it with oil cdour.
An: It turns out to be ingenious, seeming deliberate.
Liu: when I see other artists ' interview, I often wonder how they can tell us so many causes that I cannot. In fact, most of the time the artist 's creative process is very simple, not so thoughtful. It may be an idea or a kind of inertia thinking. Sometimes, when you see a scene, a picture or an idea will appear in your mind, and then it should be implemented; sometimes you will suffer from racking your brains for a good plan. I don 't think there 's so much miserable in it. Maybe every artist is different. But for me, I paint with a sudden idea when going out for a walk, reading a book or watching a movie. Sometimes it 's boring, and I can just sit in the studio, stare and think about nothing, for example, Occupying Father 's Studio was created in such process.
Me and My Abstract Thinking
An: Which one was the first to be completed among these paintings?
Liu: Satan 's Temptation.
An: It continues the idea of the previous Missing?
Liu: Yeah, but a little difference is that time line is arranged in the painting: the left means that Satan 's tempting, and the right gives the description after his trial.
An: Yes, there is no timing in Wiredrawing and it is just segmentation and stretching of a complete picture. Sluggish Love has a similar way in expression, but the contents of Missing are entirely different with "sluggish " in it. It 's like you 're using a rich vocabulary repeatedly in different situations.
Liu: From Satan 's Temptations to The Old Testament, it elaborates some stories in the Bible. The snake tempts Adam and Eve to eat the forbidden fruit; then the archangel Satan gets degenerated; the next is Jesus Christ Was Born in a Barn; this part is the famous Salome and John the Baptist 's Head; then it is the story Wheat and Weed; here is Seeds Fall in Good Soils, a metaphor for who can go to heaven, then it’s Satan 's Temptations and the ending is the Last Supper.
An: Why do you draw a picture in a picture and then present them in a floating scroll?
Liu: I saw ribbon forms in a book about the church and also in some classical paintings. Usually there is a written text and I think this form is very good, easy to describe the story. In some European classical architecture, you can sometimes see motto engraved on them.
An: I did not think it would be like this, I originally guessed it was a long scroll of traditional Chinese paintings.
Liu: Then I created two works with similar composition of a picture The Game of Bigshots and The Snake on the Ribbon, but the idea is that long scrolls on the wall is not stable and they hang down. I was hoping to do a lot of blank, but because of mounting limitations, I did not leave so much length. To me, there are many ways to express the works. Space, flat, any kind of expression is ok and you can use corresponding way to express what you want.
An: Like you 've said, it reminds me of Me and My Abstract Thinking. It 's kind of like your confession.
Liu: Right. This picture looks very simple, like cartoon, but in fact I drew it a long time. I want to draw such a picture very before, but I don 't know how to express it. Many ideas are pieced for a long and I try to put what depicted in the usual painting and what I like and believe into it. Isn 't what people think? Gradually, you will make a memory abstract, turn it into a plane and transform it into a kind of emotion you want, digest and eventually forget it.
Kid, Kid, Kid
An: When it comes to The Snake on the Ribbon, you 've done quite a lot of works about the snake. It is far from the year of Snake, how do you want define this theme?
Liu: My son was born in the Chinese lunar year of the snake. Before pregnancy, I saw a snake still on a side of the road one day, very beautiful, with rings of color on it. I think it is in hibernation? Seeing a snake, I usually feel very scared but not at all at that time. As soon as I approached it, it slid into the hole. Then I thought that something was going to happen, and as a result I had a son. It was fantastic.
An: In 2016 and 2017, you had successively created works Hope and Setting Free, which are full of children flying with lanterns. So I want to know if it is related to your kid 's birth.
Liu: While painting Hope, I went everywhere to find a kindergarten for my kid, but also faced with the problem of going to primary school in the coming future. It was the hottest time of the summer when I ceaselessly rushed about ten kindergartens and couldn 't sigh: why is it so difficult to go to school? How poor children are now; they have to be put into the sky by their parents like lanterns. But after I bought a school district house, I heard that children in Haidian District asked for going to cram schools, for they 're afraid they cannot keep up - devoid of humanity! I sighed to complete the second painting in which children plug themselves into the lanterns to the sky. A lot of people who look at the two works think that the picture is very auspicious, but in fact, I feel very painful in my deep heart.
An: I didn 't expect that your work would be so ironic.
Liu: There are several works in this exhibition, which relate to my feelings of raising a child. In the last exhibition, they asked me: is there any impact on your creation after giving birth to a baby? I answered: no. But since last year, I began to feel quite large the impact is, because there will be a lot of thoughts in education. Most of the time, children will surprise you. When my son was two and a half years old, he said he was going to paint, so his father gave him some Chinese art paper and I offered him the rest of my pigments to let him draw on the ground. He drew waves on the paper and said: “The wind blows, blows and blows.”
An: A large part of your previous works discussed special spatial relationship of cube and mirror image in a two-dimensional plane with complicated patterns, but no narrative aspects related to this basis. Why is there narrative attempt in these works like Tasting Books, The Glowing Book, The Choir and Occupying Father’s Studio?
Liu: Chinese painting was originally plane-oriented, so I would like to make a breakthrough to see the effect of three-dimensional painting. I have been fond of painting a variety of lattice and decorative patterns. I used them as background before but now I want to explore more to paint these patterns into the real space.
An: I mean I feel a kind of difference between the works: in the previous works, the space is complex, but also relatively simple; instead, current works have more plot expressions in it.
Liu: There are limitations if it is discussed in plane, but works’ continuity will be better if a little space is added to express more things. Take an example of a work ……is Different from What We Think in the last exhibition, it seemed to be vertical but actually it was very flat. Well now the current works are full of sense of space.
An: The description in The Choir and Occupying Father’s Studio is your studio?
Liu: Yes, Choir is a picture of my friends gathering in my studio, which has not yet said to be demolished at that time, but fortunately I painted one as a souvenir.
An: The little boy in the picture is your son?
Liu: Yes, he is disruptive. Occupying Father’s Studio describes my husband 's studio. One day, my husband was making an installation with his assistant, busy walking around and my son followed him, like a small tail. I thought the scene was very interesting, so I drew a picture of them three together. My husband said: our son has been playing in my studio all day, making troubles, so you can draw a picture of the occupation of studio. I couldn’t agree more and I did it.
An: In these two pieces of work, a sense of time was led in a still picture. A modern way of visual mode like photos exposed many times.
I Want to Make a Cartoon
An: Here I am thinking of your new work Teeth Inspection. It seems to me that this is a very special piece of your work. It is neither a simple experiment in the two-dimensional plane, nor an extension of your life experience.
Liu: I want to make a cartoon and recently I’ve been writing a script. This work serves as one scenario and its size is just in accordance with the proportion of a film 16:9. This is one of small details, so maybe I can use it. The script contains science fiction, some black humor and also a lot of nonsensical things. The main line of the script I imagine is very cruel.
An: what do you say?
Liu: Oh, details cannot be disclosed now.
An: "The main line is very cruel " means that it has a critical side, but not reflected in the previous painting, right?
Liu: Yes, the expression ability is not enough. I don 't really think about the whole thing.
An: Is the animation program done by hand?
Liu: It is impossible to paint only by hands. Of course, it should still rely on computer technology and teamwork. I don 't want to make animated video scraped with that kind of simple elements together, or watch good clips. From the script to characters, I have my goals and requirements.
An: That is a real animated film.
Liu: Right. I have accumulated a lot of strange ideas, but the most important thing is to improve the main line and how to design the reverse so as to make unconventional plots. A movie will be empty with no plots. I think it is not difficult for me to make a favorable single image. In the next year, I will explore more related to the film.