Conversation on Arts with Liu Zijian
1. Professor Liu, When did you first start the contemporary art painting? What did you focus on?
I graduated from the Academy of Fine Arts, Hubei Province in 1983 and became a teacher at the Academy in the same year. Two years later, Hubei province became the center of the new trend art as it held "Invitation Exhibition on Innovation of Chinese Paintings" and founded "Ideological Trend on Arts". Having been influenced by the new trend and as a young man lived and worked in this center, I actively participated in the modern ink painting exploration and creation. The accurate event or starting point which triggered my inspiration for modern art creation was to help organize "J.L Group" and participated in "Hubei Youth Arts Festival". This was the first time I showed my works on modern ink painting. However, my qualification for showing my works in Beijing was deprived by the Chairman of Arts Association, Hubei. This further strongly inspired my natural deposition of rebellion and creation.
The background to that period was the end of the Culture Revolution. People were immersed in the excitement of regaining spiritual freedom. All the past social norms were widely queried. The so-called socialist realistic method was criticized. Chinese paintings were the first to be affected. This was a time everyone was full of passion. My works were also full of the enthusiasm of criticizing the realistic society. The enthusiasm and cynicism were shown even from the titles of my works, such as: "Evil Omen – as Thinking too Far", "Bright Prospects – History Written by a Servant of People", "Crevice", "Monologue on the Mouth of Gushing out", "Escape".
2. After experiencing "85 New Trend on Arts" in the mid 80's of last century, What did you think about? How about your works?
85 New Trend on Arts was responded to a curtain call in the solemn and tragic atmosphere in 1989. This movement with a good reason, but without sustaining power, seemed to end in a day. This attacked more severely on modern ink painting. This period was the most difficult period in my life, too. I felt depressed and was twice almost driven to death by serious illness. I had done two things in three years: one was to re-read the arts of Chu, a State in the Warring States (B.C.475-B.C.221), which covered the region of Hubei and Hunan in the mid south China. The main theme of my works were the Soul of Chu. They were the real reflection of my panic and helplessness. The second thing was to create a series of abstract ink painting in order to relieve the tension in my heart. The was the beginning that I tried to establish my won language and expression methods. The original model of the Soul in the first category was from the veins on the lacquerware of the Chu State. I omitted the arms to make it like a bird or an animal in order to reflect the strong wish of the spiritual existence beyond the universe. In the abstract ink painting, the balls were the new symbols. The balls, together with collages and hard edge objects were rising, gushing out, floating disorderly, thus to form the modern ink landscape.
3. As an explorer in the contemporary experimental ink painting, you were the first to hold a solo exhibition. What was the background? What were the differences between the works on this show and your previous works?
The name of the solo was called "Ink and Light – Exhibition on Experimental Ink Paintings by Liu Zijian". This name was given by Pi Daojian, and was used in an experimental ink exhibition in Belgium. The purpose to use this name in this solo was to reinforce the connection between these two shows. In addition, I like these three words, which I explained as "light from deep darkness".
This exhibition was held out of a very special occasion. Yang Weimin came to Shenzhen for a show curated by himself. He saw my works in my studio and volunteered to curate a show for me. It was almost impossible to hold a solo show under the name of "Experimental Ink Paintings" at that time. How to organize a solo without market recognition, government support, funds and legal status? However, Yang Weimin promised to curate the show for free.
I was luckier than others because I could get funds from Huang Zhen to hold the show and to print catalogues. We were friends for many years. I could get a free ISBN from Hubei Fine Arts Publishing House. Liu Ming was my middle schoolmate. We studied at the same arts group. He first contacted Capital Normal University in Beijing, but when we put a piece of advertisement on "Jiangsu Art Monthly", Gu Chengfeng said:" how can your solo exhibition be held in Capital Normal University? National Art Museum is in renovation, but you can contact International Art Gallery Museum." Yang Weimin contacted Liu Xun. Liu Xun said it would be the best show and he also reduced the rent to a great agree. Guo Xiaochuan hosted the symposium for the show. The symposium was very successful. The "Summary of the Symposium" was edited and collected by Yin Shuangxi and published in his book named "Liu Zijian in Contemporary Arts".
All the works shown on the solo exhibition were created after I moved to Guangdong, dated from 1994 to 2002. Some new elements in the works were never shown in my previous works. The overlapping and piling up objects created images of materials, grids, bulges, compressions, and tangles.
4. How do you treat the existing historical resources like Western abstract expression? In what way do you distinguish yourself from expression besides your own culture background?
Some people said the hard edge and collage methods are influenced by Western style, but the media I use is still rice paper and ink. This combination makes it difficult to comprehend. I feel these are excuses. The basic reason is Westerners do not accept the combination of modernism expression and Chinese rice paper and ink. We ourselves think whatever called modern must belong to the West, so ink painting should be given up. The first is hegemonism and the latter is cynicism. I saw two Western art exhibitions in both Metropolitan Museum of Art, New York and Guggenheim Museum of Art, New York. These two exhibitions are highly influenced by the East. The high quality and standard show the Westerners are willing to learn from others.
The whole process of Chinese modern art movement is influenced by the West, so modern ink painting is not an exception. However, its local nature decides it cannot completely copy the West. To take myself as an example, I chose rice paper and ink; and the ball and its fragments as a symbol, and chose dark space, hard edge and collage methods. These were totally from my personal will and love, not for the purpose of imitation. There was a very specific reason behind each symbol and method.
I chose rice paper for ink wash painting is because of its thinness, transparency, and the accidental phenomena and randomness formed by ink wash flow. Other media does not possess these characteristics. To choose dark space is to use hazy dark space to overturn the method of "leave empty white space without drawing for imagination" used in traditional Chinese painting. I wanted to use darkness to bring ink out of its historic shadow. To use balls and their fragments as symbols were out of sophisticated personal feeling, experiences and thinking about the theme on life and death. To choose hard edge and collage were out of my deep understanding of the nature of rice paper in addition to the reasons as to find new expression methods mentioned above. When using paper as a media, tearing, collage, rubbing, printing are natural methods. To choose this method is also because the hard edge created by collage has a strong blocking effect on the natural flow of ink wash. Some critics said my paintings are influenced by Adolph Gottlieb, Mark Rothko or Robert Motherwell. Such sayings have no basis. There are too much attention and elaboration on mathematical logic in the symbols and compositions of their works. These symbols and compositions are connected with surrealist elements and religious feelings However, in my works, there is not a image against figurative art; and there is no directions. Objects are floating in the zero gravity. It represents the hopelessness of a man himself.
5. Regarding the composition and form, comparing with the works created in 80's, those created in mid 90's, such as "Time's Fragments" are purer and more outstanding. How do you describe such a change?
To me, art creation is out of my personal perception and controlled by intuition. The reason I created works like "Time's Fragments" was because I became a father. The birth of my son was a miracle. I have explained this in more details in my book "Sail in Wind, Pushing Life Boat forward". His birth made me full of awe and veneration on demise and newborn. Balls and their fragments and cross have their biological and spiritual connections. My recognition on life and feeling as a father required me to explore pure composition and special forms.
6. From your recent works "Bright and Beautiful Celestial Images", we found the forms were more perfect and contents were more human. What are your creation approach and structure of ideas?
After I finished the piece "A Star Named After Liu Zijian" (shown on Shenzhen Biennial Ink Painting Exhibition) in 2004, I decided not to give up "Hanging on the Wall". Instead, I have a new understanding on this. "Hanging on the Wall" is a limitation defined by people. The real problem to be revolved is the appearance of the painting. The further and deeper research on ink painting language and skills are of a great significance, unlike some people think the research is not necessary. In fact, in order to realize the modern transformation of ink painting language, or focus on the complete art history of modern and contemporary ink paintings, we find the pursuit of "Hanging on the Wall" in the ink painting has a long way to go.
Huang Zhuan mentioned that Chinese contemporary art is experiencing some kind of depravity. This depravity is from the compromise and connivance of Avant-garde art to public consciousness and pop culture. Fashion consciousness and anti-intellectualism not only deprive it of its reflection views on liberalism and elite status, but also turn it into appendage of politician power, media power and capital power. It is the enemy of art freedom to follow the reappearance of autocratic culture or follow kitsch art of public ideology. Under such a circumstance, it becomes the revolutionary mission to restore Avant-garde art through art elite system to be vigilant and keep at a distance from fashion and pop culture and to criticize and stop such philistinism through reflection.
This was under such a circumstance the art of Chu re-entered my vision. This time it was not because of its mystery. It was because of the imagination on singular space created by a method beyond imitation. This was a typical oriental spirit. I did not attempt to prove the contemporary nature of my works through traces of industrial and living rubbish. I did not directly adopt the ready made shapes and forms from Chu art, either. I created non-prescribed abstract symbols based on my own understandings. I hope it created a great spiral momentum of vigor hovering the atmosphere.
7. You have experienced several stages in ink painting creation. What do you think about the potential developments of ink painting in the future from the point of view of your personal creation?
What is the possibility of ink painting development in the future? There were a lot of comments from theorists in the past. The concept and position of these theorists are media determinism. The media of Chinese ink wash was ignored because of its local nature and different forms from the Western's. The responsibilities of these theorists seemed to understand the West, or to introduce to the West something which the Westerners can understand. They did not care about the lack of strength in introducing ourselves. In the end, it may become that the Chinese contemporary theories become input theories, not out put theories. Ink painting is a Chinese art. Its research should be carried on and problems should be resolved by ourselves. However, it is a pity that up till now there is not a systematic study on modern ink painting from the theoretical point of view. The development of ink painting was affected by the delay of its theory.
According to the feedbacks from the American organizers of the "Ink Not Ink" show, the concept "Ink" made them feel fresh and surprised. This "Ink" is different from Westerner's concept. It reminded them of the fact that there is an interesting art which they do not understand in contemporary Chinese art. After the American show, it will be traveled and showed in some Eastern European countries. This show showed that our country started to pay attention to introduce the modern ink painting to the outside world, and the Westerners are also interested in Chinese ink painting. In addition, modern ink paintings have become mature through silence and practice over the past ten years. Why should we worry about the future of modern ink painting when the comprehensive national strength become greater and when we have the right to speak?
8. Do you feel ink painting is a kind of cultural spirit which extends in your works, or a media which triggers your creative inspiration?
Ink painting has a history of thousands of years. There are all sorts of clues. What to accept and what to reject depend on personal choice. I cannot define clearly what is "spiritual". However, I spend time on and stick to the use of pure ink. "Ink and wash are superior" is an old maxim and ink is used all the time in tradition. I am saying this is not to find excuses for my own. Nobuyoshi Araki, the famous Japanese photographer once said: Chinese people usually use black and white, thick and thin method to express some kind of spirit unconsciously. The body and soul of Chinese people are dyed and rinsed by ink and wash. I admire the nature of being dyed and rinsed. Pi Daojian further explained "Ink is superior than form" as " a kind of life style including meditation, pondering and enlightenment". Since ink and wash is such a unrestrained substance and it also matches my intuition a great deal, it certainly can trigger my creative inspiration.
9. What do you think about the problems and developments of ink painting under the current international background, its specific characteristics and its influence on Chinese contemporary art.
China is a country of posterior development of modernism. It is passive in many aspects because the developments lag behind. Ink painting is a typical example. It proves the conflicts among different cultures do exist in the process of globalization. In such a case, the Chinese ink painting under the international background has becoem the realest contemporary Chinese issue. It does not matter to the West whether there is Chinese ink painting, but it is an important issue to China. Without ink painting, the contemporary Chinese art is incomplete. How can we write art history?
Western influence dominates Chinese contemporary art. We follow the West in terms of standards for value evaluation and expression methods. To Chinese contemporary art, the West is stronger and more powerful from the very beginning. Moreover, the Westerners seldom see ink paintings in what they see in Chinese contemporary art because of their own choices.
There is also our own problem. In the past, the government did not encourage contemporary art. Modern ink painting was held back. It catered to the Western strategy of cancelling Chinese identity in Chinese contemporary art. Chinese ink painters were exploring their own modernization way outside the Western methods and standards. This should have been encouraged and supported by the government. On the contrary, the growth of experimental ink painting provided extremely convincing evident. As a soft power, culture will finally reflect the competitions among countries. We lost the competition against the Westerners in the past round.
The specific characteristics of experimental ink painting in Chinese contemporary art are decided by its historical position and practical requirements. For thousands of years, ink paintings have occupied the highest position in Chinese culture. However, under the background of globalization, experimental ink painting has become the symbol of modern transformation of native culture. The ink painters are trying to approve that ink wash is an open media, and Chinese contemporary art does not have to follow the only road of being Westernized; and to approve what are the cultural obligation and value of experimental art.
10. Do you have any creation plans recently? What ink painting form are you pursuing?
From the "Bright and Beautiful Celestial Images", my creation entered into a totally different stage. The imagination on Chu art will last for a while. There were clear traces of real life in the previous works. The purpose was to be closer to the current environment. By using the traditional resources, I created a new theme of an imaginary world which cannot be controlled. This flickering and charming space has a kind of secret autobiographic nature. It is rooted from my obsession about universe and space and the recollection of a missing photo taken with the statue of Qu Yuan when I was three years old. I thought I had a relationship with Qu Yuan because of the photo. Qu Yuan regarded himself as a lonely man who adorned himself with vanilla and orchid. My understanding of Chu art largely depends on the imagination of Qu Yuan. There will not be much change in painting method. The only difference is to use a little propylene as I feel the black is not dark enough. In addition, I also use a little gold color.
11. In addition to the international tours of "Ink Not Ink – Invitation Exhibition of Chinese Contemporary Ink Painting", do you have any exhibition plans? Do you have any cooperation with art galleries?
The next stops of the tours of "Ink Not Ink – Invitation Exhibition of Chinese Contemporary Ink Painting" will be several European countries. In addition to this, the other two exhibitions which have been decided will be the "09 Annual Invitation Exhibition of Chinese Contemporary Art" to be opened on July 11 in Beijing Sunshine International Museum and the "Trend of Hunan and Hubei – Contemporary Art Exhibition of Hunan and Hubei 1985 – 2007" to be opened on July 30. I do not have fixed proxy relation with any art gallery. Instead, I only have irregular cooperation with the galleries.
12. Does the recent depressed art market exert any influence on you? What do you think about this depression?
Not much influence on me. People nowadays are all talking about the depressing market, broken price bubbles and less channels to sell paintings. These have not much connection with experimental ink painting. There are not many ink painting works on the market. Experimental ink painting is an alternative in contemporary Chinese art. We never heard that foreigners stake on this. It is not pop culture or public culture, either. We have never seen market speculation in this art. The market of experimental ink painting has been developing steadily and it can stand the ups and downs of the market.
Experimental ink painting has been recorded in art history based on its academic success. Foreigners may still take a wait-and-see attitude because of its Chinese identity and native characteristics. Appreciation and collection largely depend on usual practice. In China, only the collectors who are highly well-educated and have a sense of artistic taste can appreciate it and understand its value. According to the recent situation, its academic value has not been fully revealed in the market. The most important symbol of immaturity of the Chinese art market is that market value cannot reflect artistic value. In recent years, people gradually realize the importance of experimental ink painting in contemporary Chinese art. This is related to the publication of several art history books and the collections by domestic and international museums. Experimental ink painting is listed as an important component by those collectors who are eager to collect Chinese contemporary art works. The market price of experimental ink painting is going up steadily and the number of collectors are increasing. The depressing art market may be a chance to experimental ink painting. The capital shrink means the investment target is more focused. Good art will be well received. I am very optimistic.
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