The current art in Guangzhou depicts the characteristics of a southern commercial city. Obsessions with pop culture and consumer culture are reflected in the "Cartoon Generation", a series of related yet experimental works. However, it is inappropriate to label Liang's work according to these trends or the geographic of the artist. An artist work always show traces of the time they live in. There are certain similarities representing the era of the work, but also among them have many differences and distinctive characters. College education gave Liang's work the fundamental theoretical context, as well as the understanding on the relation between individual, current artistic environment and society. Together with her personal experience, they enrich and are reflected in her paintings.
Liang has strong skills to capture real objects, however the flower varieties she has drawn do not exist in nature - they are mostly imagined. She painted images of flowers instead of flowers themselves. Although the flower theme has been with the artist for many years, but the intention is not to portray "The Look of the Flower", but flowers are a medium to express the time, the place that she was in, the artiest interests, her daily life, her feelings and experience. It is a way to express her inner feeling and imaginations for life. Liang draws flowers as human beings. At different times, the paintings convey joy, fear, passion, excitement and various subtle emotions. In the work "Golden Flower", she mixed the texture of the wall with the impression of the flower, in the "Amber, Flush" series, the visual texture of the paintings show the love for life and the affection for time past. In her paintings, objects, light and air often melt into one, with her flowing brush strokes, colours dispersed as her muscles twitch, and with warmth looming in the background, the feeling of life is vividly breathed onto the canvas.
In semiotics, the flower is the sign of spring, sometimes it is a sign of smell. In still life paintings of the West, the perishable flowers often symbolise of the perishing of youth. Flowers also represent hope. Different types of flowers represent different things, in the Western religions, the dandelion usually symbolises sadness, it often appears in the theme of suffering; The carnation is connected with the joy of engagement; the rose is associated with the Virgin Mary or other saints. In addition, the same type of flower may have different meaning in different contexts: rose without a thorn implies the elimination of sin; red rose symbolises martyrdom; during the Renaissance, the rose is the symbol of Venus, as it is beautiful and fragrant, and the thorns of the rose is compared to the trauma of love. It is hard to distinguish the shape of the flowers, having being drawn in a moment of inspiration. However, there is a separation of colour and light in the paintings, the images that burst out are sensitive, complex and diverse.
Liang knows people tend to associate flowers drawn by female artists as symbols of their self consciousness and self understanding. In her flower series, Liang tends to display nature, rather than explaining society. Recognising that men and women's difference due to different roles and social responsibility, as well as natural differences, her paintings show her view in a gentle, back to nature way. Her paintings are drawing on her life experience, avoiding the kind of catharsis of feminist art which often condemns society and nature, which often appears to be competing for power rather than flighting for female rights. In this way, one can reflect on oneself and at the same time not creating too many social disputes. Thus, Liang's work does not carry too many social factors, on the contrary, the power of the visual itself becomes the subject of this artistic expression.
People is another subject of fascination for Liang. In recent years, Liang has created many portraits of women, triggered from her day to day encounters. "Double Portrait" is a memorial of a close friend's sudden departure. We can experience the emotional and psychological relationship of flowers and people. "Crown" is the recurring beautiful symbol of the recent portrait work of Liang. In the ancient Greek culture, winners will wear a laurel wreath in the races to be held in the name of Apollo. There are many kinds of crowns. In the European classical paintings, the rose wreath represent Saint Dorothy, reed crowns represent the river god, olive crowns represent peace, vine crowns represent Dionysus. In general, corollas represent the Roman goddess Flora, she often wore a corolla or held a bunch of flowers. In "Double Portrait", the two images wearing a corolla as if it depicts Botticelli's printing the "Primavera". The two goddesses shoulder to shoulder, Flora throws flowers, flowers spring from Chloris's mouth. The painting is diffused with the feeling of attachment, it has a sense of realism, it is intense, and concentrated, but yet it is distant and far away. Within the perplexed and confusion, it demonstrates the unique subtle sensitivity of the female characteristics.
Liang's portrait series becomes more complex. From the simple expression of drawing dolls, to drawing flowers to express human feeling, to more recently painting to express the religious emotions, her paintings have become more and more profound.
In her memory as a teenager, Liang remembers her very first contact with the medieval Icon paintings, it was via Gorky's novel "In the World". Young Gorky was an apprentice studying Icon paintings. There were several icons illustrators in the novel. The tolerance and tenacity images of a simple painting moved her deeply. Since then, Liang has a strong interest in medieval religious art. As her life experiences growth, Liang experiences the art of Icon paintings that go beyond the unique nature of emotion. In the paradigm of her portraits, all of which are images of young women with sensitive, innocent and staring eyes, the cold exterior, but full of enthusiasm and energy inside. To reduce the narrative, all props are omitted from Liang's portraits. In order to reduce the representation of the plot, Liang omits the use of posture, gestures and other languages, with no background to the portraits, the figure is drawn with no specific historical or social context, hence it becomes a "type" rather than a specific person. Through this narrative, the realism is hidden in the image of an abstract person, an imaginary person. The painter's intension is to seek the most basic human emotions. In other words, what the painter concerns herself with is the commonality of the human being. For which, the painting plays down the racial and geographical differences, it turns "my" into "our", it expresses human being's view to life and their wish to escape reality.
Liang's female portraits are both psychological and symbolic. The painter not only expressed the spiritualty visually she also uses the refreshing image of a doll allues what we are facing in the new era. The painter did not choose to descibe the event directly, it is implied.