Looking  at  Liu  Tianlian 's  works  is  like  entering  into  a  labyrinth.  In  the  multiple  spatial  dimensions  made by  colorful  plaids  or  patterns,  there  are  flowers  and  parrots,  water  pipes  and  goldfishes,  there  are  floral patterns,  a  little  boy  and  a  small  train,  there  is  also  freshness,  richness  and  jamming...  Tianlian’s  works are  beautiful,  even  with  a  strong  sense  of  fashion,  filled  with  a  variety  of  nature  lives  growing  wilfully and  mushups  and  collisions  among  the  abstract  and  confining  urban  fashion.  She  says:  good  works should  be  beautiful.

Liu  Tianlian  was  born  in  Chongqing,  she  moved  to  Shantou  around  six  with  her  family,  and  later  she chose  to  study  in  Guangzhou  Academy  of  Fine  Arts  which  is  close  to  her  home.  The  decision  to  take the  entrance  exam  for  school  of  art  was  made  in  grade  two  in  high  school,  she  had  been  learning  to play  the  piano  following  the  advice  of  her  parents  in  the  ten  years  before  that.  To  make  this  decision, perhaps  on  the  one  hand  she  was  subtly  influenced  by  her  mother  who  had  studied  oil  painting  in Sichuan  Academy  of  Fine  Arts,  on  the  other  hand  she  felt  the  lack  of  talent  for  music.

The  time  she  really  began  to  learn  Chinese  painting  started  from  the  second  year  in  the  university,  this start  is  more  than  just  late.  Talking  about  childhood  practice,  Tianlian  didn’t  take  any  advantage.  When she  entered  the  college,  she  once  wanted  to  transfer  to  oil  painting  department,  it  was  said  because the Chinese  painting  classroom  was  very  depressed  in  the  six  floor  in  contrast  with  the  Oil  painting classroom  which  was  on  the  seventh  floor  and  with  a  skylight.  But  after  wandering  among  oil  painting, fashion  designing  and  a  variety  of  interesting  art  curriculum,  Liu  Tianlian  eventually  chose  to  study solidly  in  Chinese  painting.The  elective  course  of  copying  the  works  of  Flower  and  Bird  in  Song  and Yuan  Dynasty,  she  took  twice  in  her  undergraduate  period,  gradually,  she  felt  the  charm  of  Chinese painting:   "The  ancient  people  were  very  smart  in  creation,  even  a  seemingly  normal  sector  painting from  Song  dynasty,  could  also  blend  the  changes  of  a  plant  in  the  four  seasons  into  it,  and  then through  which  manifests  the  beauty  and  sense  of  time. " 

Using  Chinese  painting  as  the  creative  medium,  she  has  always  been  trying  to  change  people 's cognition of  traditional  Chinese  painting  in  her  own  way,   "What  I 'm  looking  for  is  not  only  the  senses  about  the images,  what’s  more  important  is  the  exploration  for  new  languages  in  Chinese  painting’s  fine brushwork, and  how  to  make  another  step  forward  in  Chinese  Tranditional  Flowers  and  Birds  which  already  reached the  peak  of  perfection. "  How  to  join  in  ideas  and  concepts  on  the  basis  of  aesthetics,  and  let  the works  carry  modern  mind?  Liu  Tianlian  was  constantly  thinking  about  this  question  in  her  college  days. And  the  efforts  made  trying  to  solve  this  problem,  will  cause  severe  conflicts  with  traditional recognitions.  So  she  was  both  unfortunately  and  fortunately  considered  as  the  disapproved  kind  in  her college  age.  Perhaps  right  because  of  this,  she  was  stimulated  to  run  away  from  tradition,  and  moving further  and  further. 

In  college  days,  Liu  Tianlian  met  her  husband  who  is  stick  to  the  road  of  artistic  creation,  this  was  a turning  point  in  her  life.  In  2012,  in  order  to  get  better  development  in  art  creation,  she  followed  her husband  who  is  engaging  in  the  conceptual  art  to  Beijing,  starting  the  North  Drifting  life.  In  this process,  she  was  exposed  to  more  extensive  and  contemporary  art  forms,  which  enables  her  to  have distinctive  painting  ideas.  She  has  a  bright  and  sharp  perception,  the  capture  and  utilization  of  new things  is  like  her  brushwork  on  the  paper,  having  a  high  degree  of  precision  and  generality.  This  allows her  images  created  with  traditional  ink  painting  techniques  to  be  juxtaposed  harmonically  with  modern life  and  aesthetic  sense.

From  the  promotion  of  traditional   "Water  and  Pastel  Impact ",  endowing  the  more  stylish  and  modern color  scheme  with  the  images,  to  the  structural    visual  language  blended  with  cubic  and  mirrored relationships,  and  then  to  the  new  Jamming  Series  embedded  with  abstract  concept,  Liu  Tianlian 's  work seem  to  have  narrative  elements,  actually  it  doesn’t  tell  any  stories.  She  pours  the  subtle  feeling  of  a person  who  lives  in  the  modern  fashion  and  technology,  into  her  glamorous  and  calm  images.  She  is stuck  in  tradition,  however  fleeing  from  the  tradition.