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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Mandy El-Sayegh: Productive Ambiguity Ocula Conversation Mandy El-Sayegh: Productive Ambiguity

Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...

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Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

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Liu Ye

b. 1964, China

From children's fiction to literature, and from historical figures to Dutch modernist paintings, multiple cultural and historical moments converge in Liu Ye's imaginative and enigmatic paintings. Often featuring round-faced children and cartoon characters, the artist's creations retell internationally familiar signs of modern and contemporary culture, paying homage to the artist's longstanding admiration for them.

Born two years before the Cultural Revolution began, Liu grew up in a society strictly regulated by the state. Although many Western books were banned, he was able to read some that his father had kept hidden. While these memories would later serve as sources of inspiration, his vast knowledge of Western cultural history was formulated during the years he spent in Europe. In 1990, having completed his studies at the Central Academy of Fine Arts and the School of Arts & Crafts, both in Beijing, the artist continued his education at Berlin's Universität der Künste. He returned home four years later, then left again for a six-month residency at the Rijksakademie in Amsterdam in 1998.

Liu's early works from the 1990s are characterised by their depictions of childlike figures with round features. These paintings are humorous and light-hearted, but also endowed with a touch of the ominous. Bright Road (1995), for example, shows two winged children smiling and posing before an open window, seemingly oblivious to the falling aircraft in the distance or, somehow, happy that it is about to crash. In Warship Children (1996), a pair of children wearing sailor suits study a map, similarly unaware or uncaring of the red-hued warship that glides towards them in the background.

Among the range of European cultural icons that Liu references in his paintings, Mondrian's geometric compositions are perhaps the most frequent. One of the artist's earliest works, the black-and-white etching Angel before Mondrian (1994) features a cherub looking through a telescope. Behind him, a Mondrian painting hangs on the wall. This motif of a young child—usually a girl—observing or standing before the Dutch painter's works recurs throughout his paintings, such as in Mondrian in the Afternoon (2001) or Boogie Woogie, Little Girl (2005). In his large-scale painting Bamboo Bamboo Broadway (2012), Liu also reconfigured the Chinese symbol of bamboo stems as a geometric abstraction after Mondrian's grids such as in Broadway Boogie Woogie (1942–1943).

Liu's other works draw well-known characters and figures from diverse points in Western art history and literature, reimagining them in his soft brushwork. Shakespeare's 16th-century hero appears in a contemporary setting with a gun in Romeo (2002); Mozart (2009) portrays the Austrian composer as a child with a doll-like face; and Pinocchio (2011) captures the beloved fairy tale character in shades of warm brown and red. Miffy, a more contemporary creation of Dutch artist Dick Bruna, is a popular character in Liu's paintings, observing monochromatic paintings alongside a little girl in International Blue (diptych) (2006) or posing at a wedding in Miffy Getting Married (2014). The artist adopts Miffy as himself in Self portrait (2013), in which the girl rabbit sits at a desk with a line drawing of herself before her. Red, blue, and yellow colour pencils are scattered on the desk, recalling the three colours that Mondrian favoured for his paintings (notably Composition with Red Blue and Yellow, 1939).

In an interview with Jing Daily in 2015, Liu said that his inspiration had shifted from his childhood memories and his imagination to objects found in everyday life. This is perhaps best demonstrated in his book paintings, which render closed or open books in a photographic style. Close-ups of volumes open to empty pages, such as Book Painting 6 (2014), allude to the artist's love for the book as an object, while depictions of pages from a book, such as Book Painting No. 12 (Lolita, Weidenfeld & Nicolson, 1995, Page. 11) (2016) or Book Painting No. 19 (Story of O, Grove Press Inc. New York, 1965) (2017), point to his love for literature.

In 2018, Liu held Storytelling, a solo exhibition at Prada Rong Zhai in Shanghai that featured a selection of his works from 1992 on. Other notable museum shows include Mondrian and Liu Ye at Mondriaanhuis, Amersfoort (2016), and Window on China at Kunstmuseum Bern (2007). His work was also included in Viva Arte Viva, the International Art Exhibition of the 57th Venice Biennale, 2017.

Ocula | 2019
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Represented By

In Related Press

Quiet Life: Liu Ye Related Press Quiet Life: Liu Ye Mousse Magazine : 1 May 2019

The image of the young artist who destroys his paintings —realizing their lack of originality, or at least the absence of a distinctive voice—is one of the most recognizable romantic tropes, even in mainstream narratives, usually preceding an expressive journey dictated by a more genuine creative compulsion.

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FIAC 2016, da da da Related Press FIAC 2016, da da da RanDian : 28 October 2016

Auctions do not make an art market, merely a market out of art. Accordingly Paris remains the center of art that London pretends to be. To British bafflement, it is not only about money (though that too).The Parisian atmosphere, though, is cordite tense. Both police and homeless people are more noticeable, though begging is not. Despite the...

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Artist Liu Ye on His New Catalogue Raisonné and the Rise of Chinese Collectors Related Press Artist Liu Ye on His New Catalogue Raisonné and the Rise of Chinese Collectors Jing Daily : 10 December 2015

Known for his bright-hued paintings of childlike round-faced figures, acclaimed artist Liu Ye's new catalogue raisonné includes 'a number of works that have never been published,' according to its editor Christoph Noe, who is also the founder of The Ministry of Art and Larry's List. Published by Hatje Cantz Verlag, the catalogue raisonné features...

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The 4Th Installment Of 'Beijing Voice' At Pace Beijing Related Press The 4Th Installment Of 'Beijing Voice' At Pace Beijing Sue Wang for Cafa Art Info / 18 December 2014 : 19 December 2013

The group exhibition, Beijing Voice: Relations presented by Pace Beijing was open on December 10th, 2013 and the exhibition continues to focus on the field and phenomenon of Chinese contemporary art. In an open and creative forum, it deconstructs, restructures and presents Pace Gallery‘s understanding of today’s art environment. The...

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In Video & Audio

Liu Ye: ‘Dick Bruna is more important to me than Da Vinci’ Related Video & Audio Liu Ye: ‘Dick Bruna is more important to me than Da Vinci’ Studio International : 8 December 2015

The following is an excerpt of a conversation between Lilly Wei and Liu Ye in his Beijing studio in the summer of 2015.

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