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Artist profile
Intersections of Art and Repetition: A Profile on Liang Yuanwei
Intersections of Art and Repetition: A Profile on Liang Yuanwei
Intersections of Art and Repetition: A Profile on Liang Yuanwei
Billie Lam
October 9, 2024
Liang Yuanwei, born in 1977 in Xi’an, Shaanxi, China, completed both her undergraduate and master’s studies at the China Central Academy of Fine Arts. Currently based in Beijing, she has emerged as a leading figure in contemporary Chinese art. Her work, characterized by intricate patterns, minimalist compositions, and a meticulous, labor-intensive process, masterfully harmonizes complexity and simplicity, inviting viewers into a refined and thought-provoking visual experience.
Liang Yuanwei, born in 1977 in Xi’an, Shaanxi, China, completed both her undergraduate and master’s studies at the China Central Academy of Fine Arts. Currently based in Beijing, she has emerged as a leading figure in contemporary Chinese art. Her work, characterized by intricate patterns, minimalist compositions, and a meticulous, labor-intensive process, masterfully harmonizes complexity and simplicity, inviting viewers into a refined and thought-provoking visual experience.
Artist Liang Yuanwei
Artist Liang Yuanwei
©victoria dockside
©victoria dockside
A PERFECT SETTING FOR INTIMATE ART
A PERFECT SETTING FOR INTIMATE ART
A significant influence on Liang’s work is the American artist Jasper Johns, whose approach to reinterpreting existing symbols and his use of grid-like structures inspired Liang’s own creative explorations. Liang has reflected on the role of artistic repetition in the digital age, questioning why artists continue to recreate patterns by hand when visual reproduction is so easily accessible. She says, "I intentionally make these images worthless. For example, Flowers, the most clichéd decorative objects, become more and more lifeless as I repeat them."
This concept of repetition is exemplified in one of Liang’s early works, u must be strong (2004-2005). Over a two-year period, she typed the phrase “u must be strong” on delicate tissue paper 44 times a day. By the end of each day, a completed pattern would emerge, and by the end of the year, she would have used an entire roll of paper. In an interview with Art News, Liang explained, “It became a mantra, a form of self-hypnosis... The fragile tissue paper contrasts with the strength the phrase suggests, symbolizing an internal push for resilience.” The work was acquired by Dr. Uli Sigg later donated it to Hong Kong's M+ Museum, where it remains part of their permanent collection.
A significant influence on Liang’s work is the American artist Jasper Johns, whose approach to reinterpreting existing symbols and his use of grid-like structures inspired Liang’s own creative explorations. Liang has reflected on the role of artistic repetition in the digital age, questioning why artists continue to recreate patterns by hand when visual reproduction is so easily accessible. She says, "I intentionally make these images worthless. For example, Flowers, the most clichéd decorative objects, become more and more lifeless as I repeat them."
This concept of repetition is exemplified in one of Liang’s early works, u must be strong (2004-2005). Over a two-year period, she typed the phrase “u must be strong” on delicate tissue paper 44 times a day. By the end of each day, a completed pattern would emerge, and by the end of the year, she would have used an entire roll of paper. In an interview with Art News, Liang explained, “It became a mantra, a form of self-hypnosis... The fragile tissue paper contrasts with the strength the phrase suggests, symbolizing an internal push for resilience.” The work was acquired by Dr. Uli Sigg later donated it to Hong Kong's M+ Museum, where it remains part of their permanent collection.
Liang Yuanwei, U must be strong, 2004-2005. M+ Sigg Collection, Hong Kong.
Natura morta (Still life), 1941, Oil on canvas, 43 × 40 cm
© Liang Yuanwei
©Art Basel
Liang’s engagement with repetition is further demonstrated in her series 50 Pieces of Life. Here, she reimagines familiar textile patterns from 1980s and 1990s Chinese households, including bed linens and curtains, through artistic repetition. These patterns, originally part of everyday life, are elevated into art, blurring the boundaries between life and art, tradition and culture, individuality and collectivity. Through this process, Liang transforms mundane motifs into profound visual statements, continuing the legacy of Johns by dissolving the separation between art and the fabric of daily existence.
Liang’s engagement with repetition is further demonstrated in her series 50 Pieces of Life. Here, she reimagines familiar textile patterns from 1980s and 1990s Chinese households, including bed linens and curtains, through artistic repetition. These patterns, originally part of everyday life, are elevated into art, blurring the boundaries between life and art, tradition and culture, individuality and collectivity. Through this process, Liang transforms mundane motifs into profound visual statements, continuing the legacy of Johns by dissolving the separation between art and the fabric of daily existence.
Liang Yuanwei, Pieces of Life No.7, 2007. Sotheby’s Modern & Contemporary Asian Art Evening Sale, 2016, Lot 1078.
©mutual art
Exploring Fresco: An Ongoing Experimentation
One significant aspect of Liang Yuanwei's work is her fascination with Italian frescoes, which she encountered during her studies in Rome and continued her exploration during her residency in the US. These experiences inspired her to experiment with the fresco technique, a demanding process that requires an entire painting to be completed in a single session, allowing no room for corrections. This rigorous method imposed strict discipline on her creative process, compelling her to delve deeper within a confined framework.
"I forced myself to abandon the strengths of oil painting, restricting myself to discover what lies beyond control," Liang noted, underscoring the delicate balance between restraint and artistic freedom that defines her work. In this context, she reexamines the fundamental nature of oil painting, treating the medium more as a sculptural material than a traditional form of painting.
Liang’s exploration is evident in her 2015 series, which marks a deliberate shift in her approach to oil painting. In this body of work, she consciously moved away from the thick, textured applications typically associated with the medium, opting instead for a lighter, more delicate surface that evokes the almost transparent qualities of Chinese silk and rice paper.
One significant aspect of Liang Yuanwei's work is her fascination with Italian frescoes, which she encountered during her studies in Rome and continued her exploration during her residency in the US. These experiences inspired her to experiment with the fresco technique, a demanding process that requires an entire painting to be completed in a single session, allowing no room for corrections. This rigorous method imposed strict discipline on her creative process, compelling her to delve deeper within a confined framework.
"I forced myself to abandon the strengths of oil painting, restricting myself to discover what lies beyond control," Liang noted, underscoring the delicate balance between restraint and artistic freedom that defines her work. In this context, she reexamines the fundamental nature of oil painting, treating the medium more as a sculptural material than a traditional form of painting.
Liang’s exploration is evident in her 2015 series, which marks a deliberate shift in her approach to oil painting. In this body of work, she consciously moved away from the thick, textured applications typically associated with the medium, opting instead for a lighter, more delicate surface that evokes the almost transparent qualities of Chinese silk and rice paper.
Liang Yuanwei, 2015.01, 2015.
©invaluable
The 16-piece series culminates in works like 2015.15 and 2015.16, which distill her ideas into refined minimalism, representing the convergence of Eastern and Western art forms. This thematic evolution of precision and control laid the groundwork for her subsequent 2017 series, where she would further test the boundaries of her medium by imposing stricter limitations on color and form. This transition connects to her exploration of fresco techniques, where discipline and immediacy were central to her process, pushing her to new artistic discoveries.
The 16-piece series culminates in works like 2015.15 and 2015.16, which distill her ideas into refined minimalism, representing the convergence of Eastern and Western art forms. This thematic evolution of precision and control laid the groundwork for her subsequent 2017 series, where she would further test the boundaries of her medium by imposing stricter limitations on color and form. This transition connects to her exploration of fresco techniques, where discipline and immediacy were central to her process, pushing her to new artistic discoveries.
Liang Yuanwei, 2015.16, 2015. Yongle Spring Auction 2024, Lot 8095
©Invaluable
The 2017 Series marked a pivotal evolution in Liang Yuanwei's artistic practice, as she constrained herself to using only two or three colors per painting. Initially, she focused on just two colors, creating a base on a white canvas. While the base was still wet, she would apply one additional layer. Beginning with 2017.28, she expanded her palette to include three colors: red, yellow, and blue, transitioning from a two-layered approach to a more complex three-layered one. From that point onward, her works exclusively featured these three colors.
The 2017 Series marked a pivotal evolution in Liang Yuanwei's artistic practice, as she constrained herself to using only two or three colors per painting. Initially, she focused on just two colors, creating a base on a white canvas. While the base was still wet, she would apply one additional layer. Beginning with 2017.28, she expanded her palette to include three colors: red, yellow, and blue, transitioning from a two-layered approach to a more complex three-layered one. From that point onward, her works exclusively featured these three colors.
Liang Yuanwei, 2017.28, 2022
©beijing Commune
Liang describes this series as an exploration of uncertainty: “When I add yellow to the blue, it becomes green, and the green then interacts with the red underneath. Depending on when I apply the yellow, its intensity changes.” She draws parallels between her process and the optical experiments of Georges Seurat, where colors blend in the viewer's eye rather than on the canvas. For Liang, this approach serves as both a physical and chemical experiment, delving into the metaphysical possibilities of color reduction. "By deliberately limiting the palette, I push to see how many possibilities remain," she explained, emphasizing her commitment to uncovering new dimensions within a restricted framework.
Liang describes this series as an exploration of uncertainty: “When I add yellow to the blue, it becomes green, and the green then interacts with the red underneath. Depending on when I apply the yellow, its intensity changes.” She draws parallels between her process and the optical experiments of Georges Seurat, where colors blend in the viewer's eye rather than on the canvas. For Liang, this approach serves as both a physical and chemical experiment, delving into the metaphysical possibilities of color reduction. "By deliberately limiting the palette, I push to see how many possibilities remain," she explained, emphasizing her commitment to uncovering new dimensions within a restricted framework.
Looking Forward
Liang Yuanwei’s work reflects a deep engagement with the intersection of repetition, material experimentation, and cultural reflection. By drawing on influences like Jasper Johns while also embracing Italian frescoes and traditional Chinese aesthetics, she continuously redefines the boundaries of her medium. Her art invites viewers to contemplate the delicate balance between control and spontaneity, as well as the profound potential of what may seem mundane or repetitive.
Liang Yuanwei’s work reflects a deep engagement with the intersection of repetition, material experimentation, and cultural reflection. By drawing on influences like Jasper Johns while also embracing Italian frescoes and traditional Chinese aesthetics, she continuously redefines the boundaries of her medium. Her art invites viewers to contemplate the delicate balance between control and spontaneity, as well as the profound potential of what may seem mundane or repetitive.