| 刘诗园 | LIU SHIYUAN

 

 

 

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Works (click images or titles for more details)
CV
Contact
/ Isolated Above, Connected Down /
/ Almost Like Rebar /
/ Fuck It, I Love You /
/ Music Forbidden /
/ The Best Is Yet To Come /
/ Best Friends Forever /
/ It´s Nice to See You /
/ The Smallest Lobster /
/ Love Poem /
/ not titled /
/ Wonderland /
/ This Way or That Way /
/ From Happiness To Whatever /
/ OMG Welcome! /
/ Lost In Export /
/ Untitled /
/ Beyond The Pale /
/ We Were Never Alone Never Bored /
/ Someone Else, Somewhere Else /
/ As Simple As Clay /
/ Extreme Deep Field /
/ The Edge Of Vision, Or The Edge Of The Earth /
/ Re-en-act /
/ If It Wasn't /
/ A Conversation With Photography /
/ Too Many Words /
/ Hi~! /
/ Chair No.1 /
/ Evidence /

Almost Like Rebar

February 2018

C-prints in artist frame

C-printed photos / sandwitch mounting / handdrawn on white painted wooden frames

No.1: 129 x 159 x 5 cm / No.2: 187 x 128.5 x 5 cm / No.3: 127 x 159.5 x 5 cm / No.4: 128 x 128 x 5 cm / No.5: 184 x 106 x 5 cm / No.6: 88 x 176 x 5.1 cm

 

For these six photography works below, each intricate composition results from a flow-of-consciousness journey, led by minute intuitive

emotional responses, as well as logical and contemplative associations. Unlike collages where different pieces of imagery are placed next

to or on top of one another, Liu thinks of each photography work as one singular totality. Although the various elements in a composition

are either found on the internet, digitally photographed, shot with 35 mm film, or computer-rendered, Liu would align the pixels of each

fragment which yield, by definition, one continuous image. The artist works on several pieces simultaneously, and starts by perusing a

copyright-free sharing website where professional photographers upload failed images and videos from commercial shoots. She notes

that this initial phase feels a bit like being on dating websites and browsing through one profile picture after another, until encountering

an image that she instantly feels chemistry with, from which point an array of visual elements would be conjured and added like puzzle

pieces, until forming a whole composition. Imbedded in these photography works are a number of intimate associations exclusive to her

personal experience: motherhood, marriage, the daydreaming young girl within, and the subtle sense of alienation when living abroad.

In making Almost Like Rebar No. 3, for instance, she came across a short video of an arguing couple that triggered her empathy. She then

laid out the video frame by frame, just as she did with the eagle video in Almost Like Rebar No. 2 and the video of a girl lying in a grass

field in Almost Like Rebar No.4, which enables the viewer to scrutinize every transitory moment otherwise unnoticed in a continuous motion

picture. In fact, she regards all the visual elements in a composition as actors in a choreographed play. The lighter-toned parts of a work

would be the brightly lit sections on stage, and the darker parts the dimmer areas in the mise en scène. Seen in this way, each work’s

seemingly eclectic surface is a vivid performance, while the narrative differs depending on how each viewer responds and associates.

 

Exhibitions:

2018 Isolated Above, Connected DownTanya Bonakdar Gallery. New York, USA.

 

installation view at Tanya Bonakdar Gallery ↓

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