From Traditional to Digital: Zongyao Liu's Artistic Journey Across Cultures and Media
Zongyao Liu is an artist born and raised in China. She graduated with a BA in Print from the Central Academy of Fine Arts in Beijing in 2021 and an MA in Print from the Royal College of Art in London in 2023. Her artwork revolves around exploring the image system of contemporary life. She has shown keen interest in “seeing”: how we perceive a painting both as an image and as an object, especially in the age of the internet when everyone accesses information and scrutinizes our world through their smartphones daily. She is interested in the new connotations of image representation and communication today. She focuses on different concepts of images in the history of art, the representation and dissemination of images on digital media platforms, and people's perceptions and aesthetic criteria for images. Her work explores the limitations and inherent biases of viewing systems by appropriating and reprocessing ubiquitous images, prompting the viewer to reconsider everything we take for granted. She hopes her works can enable the audience to reflect on how media images, based on digital media, shape our perception of the world and ourselves. At the same time, she also experiments with forms, materials, and colors. With the concept of "color" and “repeatability” as the core, she uses the scraper tool to repeatedly scratch acrylic, overlap, and interweave colors to form images, to explore and reflect on the possibility of material media itself.
Zongyao, with your cross-cultural education experience, how has your background in printmaking from the Central Academy of Fine Arts and the Royal College of Art influenced your artistic approach?
I have always been fascinated by the concept of printmaking—the reproduction of images. My studies at the Central Academy of Fine Arts mainly focused on traditional printmaking. Driven by my curiosity about the expanded concept of contemporary printmaking, I came to the UK for postgraduate study. The education I received in the UK and my art practice exposed me to emerging technologies and more cutting-edge creative techniques. This further reinforced my interdisciplinary artistic direction after graduation.
How do you hope your work will prompt audiences to reflect on the evolving relationship between art history, digital media, and their impact on our perception of the world and ourselves?
I attempt to explore the concept of images in art across different periods and the representation and dissemination of images on digital media platforms. Through the appropriation of similar but different iconic symbols of famous artists in my work, I hope to prompt audiences to think about the relationships between these concepts. I hope audiences will realize that in the digital age, our views of the world and self-perception are often influenced by media images, which are in turn shaped by history, culture, and technology.
Painting Mask—Damien Hirst. Sewing, found fabric, frame, 66 x 86 x 3cm, 2022
Painting Mask—Mondrian. Sewing, found fabric, frame, 66 x 86 x 3cm, 2022
Can you describe the inspiration behind your Painting Mask series, particularly how it reflects your exploration of contemporary image systems, and how do you choose subjects like Damien Hirst and Mondrian for your masks, and what do they represent in your work?
My inspiration comes from observing the world around me. In times of material scarcity, many families would sew covers for their precious household appliances to protect them. These covers had various patterns, serving both decorative and dust-proof functions. Some fabric patterns were based on the works of past artists or imitated their artistic styles, circulating in the commodity market, separated from the concept of "artworks," and becoming materials for decoration. This perspective reminded me of the functional attributes of artworks. I specifically chose artists who are popular in the decorative pattern market: Damien Hirst, Katsushika Hokusai, Mondrian, and Yayoi Kusama. I bought fabrics that easily evoke the painting styles of these artists and rehung them on the wall, like hanging a painting, to remind me of the functional attributes of artworks, thereby attempting to expand the presentation of painting.
Can you discuss the significance of the title Everyone Will Be World-Famous for 15 Minutes and its relation to your exploration of image representation and communication?
The title comes from Andy Warhol's famous quote, "In the future, everyone will be world-famous for 15 minutes." The title Everyone Will Be World-Famous for 15 Minutes has significant symbolic meaning in this work. It not only suggests the transience of media's influence on individual image and cognition in contemporary society but also prompts deep reflection on the relationship between originality and reproductions. This title makes my work more closely related to contemporary media and art, presenting insights and reflections on contemporary image society.
Everyone Will Be World-Famous for 15 Minutes. Silk-screen printing on paper, 6 pieces Dimensions variable, 2021
In your painting I Shop, Therefore I Am, you use the red dot symbol to critique the commercialization of art. Can you elaborate on how this work reflects your views on the art commodity market and the role of galleries and museums in shaping the value and perception of artworks?
I named my work after Barbara Kruger's slogan "I shop therefore I am." I found that art galleries and museums are not neutral places to display artworks but places that select specific works under the influence of economy, policy, and other factors. In this work, I question the assumed function of these places.
I Shop, Therefore I Am. Acrylic on canvas, Φ 70cm, 50cm, 35cm, 25cm, 15cm, 2021
Can you share one of the biggest challenges you've encountered in your artistic journey and how you've overcome it?
The biggest challenge for me is the high demands of artistic creation. Works need to have appealing visual effects, thought-provoking and interesting content, and innovation and originality. I always keep an eye on contemporary art and digital technology, constantly learning and exploring new art forms and media to gain inspiration and enlightenment. Secondly, I focus on infusing my unique perspective and thoughts into my works, striving to make them stand out, reflecting my personal style and creativity. Lastly, I participate in art exhibitions and exchange activities, actively interacting with other artists and audiences to gain feedback and suggestions, continuously improving and enhancing my works.
What is the message behind your #Ins Color Field Painting series, and how does the concept of "viewing" play a role in the context of digital media?
After studying art history, I realized that the size of a work is crucial for presenting and appreciating paintings, especially for one art form—color field painting. Electronic communication channels are expanding our horizons while weakening the relationship between the sublimity of original size and the viewing experience. New media are gradually influencing our ways of viewing. These works have a unique visual experience in their original size and viewing environment. By presenting these miniature works in the form of a virtual exhibition on social media, I aim to highlight the limitations that digital media might bring to the presentation of paintings.
#Ins Color Field Painting, Acrylic on canvas, 3.5 x 2.5cm, 2021
Memories’ Shape involves screen mono-printing. Can you explain your choice of this technique and its impact on the final artwork?
This piece comes from my exploration of the screen mono-printing technique. Based on the characteristics of this printmaking method, there are two key factors: first, during the creation process, I must control the time on the screen; otherwise, it will clog. Second, unlike traditional screen printing, mono-printing can retain brush marks well, giving it a more painterly feel.
I chose to express the blurred visual images deep in my memory—my first memory of existence. These memories are both close and distant to me, with no exact words to accurately describe them. I see them as the first page of my record in this world and this space-time. I used controllable time and rich brushwork to match the content.
Memories’ Shape. Screen mono-print on paper, 35x 35cm, 6 pieces, 2022
In Let Them All Materialize, you reflect on the materiality of color through the interaction of colors, textures, and transparency. Can you elaborate on how the dilution of acrylic color and the repeated scraping motion contribute to the viewer's experience of the work?
In this work, I received many interesting associations from viewers, such as silk, gauze, and stockings. I interpreted the concept of "repetition" through the dilution of acrylic paint and repeated scraping motions. The depth of colors changes continuously throughout the work. I explore possible changes and try to turn it into a "painting for viewers to experience."
Let Them All Materialize. Acrylic on paper, 30x38cm, 8 pieces, 2023
What's your favorite thing to do outside of your art creation?
Aside from visiting exhibitions and museums, which help accumulate inspiration, I enjoy listening to podcasts on humanities, social sciences, finance, politics, popular science, and life sharing.
Can you discuss any upcoming projects or exhibitions you're excited about?
Based on the AI technology I encountered during my postgraduate studies in the UK, my upcoming project will shift from my original practice of digital media images to discussing AI-generated art images. It will focus on the transformative impact of digital technology and artificial intelligence on artistic creation, reproduction and representation, authorship, and originality. The project will approach these topics from a research perspective, grounded in theories such as Walter Benjamin's concept of "aura" and Hito Steyerl's "poor image" theory.
Lastly, what advice would you give to aspiring artists who are interested in exploring the image system of current life through their work?
Maintain sensitivity, whether it's in everyday life or in broader areas such as society, technology, and culture. Keep your passion alive, as it is the driving force behind your work.