Anja Liu

Anja Liu

The Twelve Apostles, 2015

Oil on canvas

400×600mm

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Anja Liu

Mixed media, 2016

This group of artwork combines Chinese calligraphy and graffiti art to explore the relationship between the symbolic implication of calligraphy and the space around it.

Samurai’s Courtyard, 2016

Mixed media

200×350mm

This Samurai’s Courtyard was created under the influence of Japanese Wabi-Sabi style of art. I want to express the tranquility and understated beauty observed in Japanese scenery.

On the Cloud, 2016

Mixed media

280×280mm

In “On the Cloud”, I used hemp rope to imitate the shape of cloud, which was similar to the way Van Gogh did for his painting of Starry Night.

Reef in the Wave, 2016

Mixed media

150×200mm

“Reef in the wave” is another mix media created in the Japanese Wabi-Sabi style of art. The reef in the wave was created using abstract Chinese ink wash painting.

Maze, 2016

Calligraphy

300×300mm

 

Words on the Roof, 2016

Chinese Ink and mixed media

297×210mm

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Anja Liu

Jing Hua Shui Yue, 2016

Tai Hu Stone, mirror, spot light, motor, glass bowl, humidifier

500×500×800mm

The rotating device used in this portfolio was inspired by the Chinese idiom of “flowers in a mirror and the moon’s reflection in water.” This illustrates the idea that something that is beautiful may be an unattainable dream, a mirage.

I used the mirror and the water surface to create an illusory world through the reflection of light. The bottom of this device uses a mirror as the water. I drew tiny waves on it with propylene. On the top, I put the natural Taihu stone, also known as rockery rock, produced in China’s Jiangsu Taihu Lake. China’s ancient scholars enjoy collecting stones, especially the Taihu stones, because their natural shape is more like a true mountain than carved rockery. The small Taihu stones are often placed in bonsai landscapes, while the large ones are usually set in the ancient Chinese royal gardens. From a Chinese perspective, the scene can be a bonsai, a garden, or a different world. These scenes present the same meaning as the idiom. They are creatures to explore for the ancient Chinese scholars pursuing poetic, romantic moods.

The entire device looks like a rotating lantern. The viewers watch the water and rockery rock as though they are seeing a drawing of mountain scenery or of a walk in a scenic area. The reflected lights from the glass of the device produce a circle that looks like a moon. In the process of creation, I strive to blend dreamy environments.

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Anja Liu

Papaver somniferumL., 2015

Gouache

395×305mm

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Anja Liu

Colour Squares, 2016

Set of 3 mixed media

The object in the photograph is a combination of colored glass blocks, which attempts to create rhythmic architecture utilizing the arrangements of colors and shapes.

Grey and Red, 2016

200×200mm

“Grey and red” shows is a color practice, with the gray color in contrast to the dark red stripes, to achieve the stability of composition and color.

260×280mm

210×230mm

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Anja Liu

360°, 2016

B&W Fish-eye lens Photography and post- production

600×600mm

This artwork is composed of multiple collages of photography. Each piece was filmed of different lake scenes with a fish-eye lens at the same time everyday within a week in my neighborhood.

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Anja Liu

2008512, 2016

Photography and post-production

297×420mm

The group of photos was taken at the original site of an elementary school, struck by 2008 Wenchuan Great Earthquake. The photos attempt to restore the scene of the earthquake using treatment of superposition.

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Anja Liu
Kiln Transmutation, 2016
Set of 4 acrylic on canvas
200×200mm

This group of artwork was inspired by Chinese kiln transmutation. Kiln transmutation refers to the natural glazing color variations as a result of temperature changes during the firing process in the kiln. Ancient Chinese thought that kiln transmutation was the result of combining the power of artisans and nature, and was beyond human efforts. This series of work attempt to display the graphic pattern of kiln transmutation using painting, yielding a sense of uncertainty with free brushstrokes. My intension was to present an unpredictable object with uncertain manual approach, with the final work exhibiting an image that has been propagated through multiple uncertainties.

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