Artist: Hu Liu
painting | pencil on paper | 1100x800mm | 2011

The “visible” and the “invisible” coexist in Hu Liu’s pencil drawings. Using the pencil to portray what can be termed grand vistas – mountain ranges and oceans – is an extension of her work in recent years. Hu Liu fully understands her talents and excels at employing them: patiently and repeatedly drawing and coloring in, unfailingly sustaining her powers of perception, eventually capturing a mountain or watery scene and expressing this in black, anonymous and mysterious. Only under specific angles can the landscape she drew be seen on this plane of black. In this day and age, all things will vanish; in contrast, only by fixing these originally objective, eternal and specific worlds will historians be able to reckon with things outside of writing, and finally having them passed down. Because the scale is not at all small, Hu Liu’s tools can no longer satisfy her drawing style; she started conceiving, inventing and producing tools that belong to her own way of drawing. In this sense, Hu Liu’s work even has a certain classicism and becomes the means by which she takes in things. Sensation, perseverance, focus – these qualities, too, take cover within the darkness and yet emerge within. One is reminded of the sentence the German artist Maria Eichhorn once wrote with white paint on a white wall: “Invisible is invisible, visible is visible, invisible is visible, visible is invisible.”


The 10th Shanghai Biennale - Social Factory | 2014.11.23 - 2015.03.31 | Shanghai Contemporary Art Museum(Shanghai, China)