From Sep 10th to Oct 15th, 2009, “A PIECE OF PAPER, A PIECE OF PLYWOOD”, a collection of paper-based works of Liu Wei, will be exhibited in Red Bridge Gallery in Shanghai. This exhibition focuses to demonstrate the serial paper-based works created by Liu Wei in 2009, including prints, mixed media, paper-based abstract paintings and paper-based oil paintings, which plenty demonstrates Liu Wei’s control over and creativity on various materials. Liu Wei attempts various possibilities on paper-based works and explores its vitality in the contemporary context. Through his works, the traditional Chinese cultural connotation carried by paper renews its significance, and the synergy between Liu Wei and paper is a perfect epitome of engagement of traditional and contemporary culture.

To Liu Wei, paper is not a transient medium — few Chinese contemporary artists resemble him in keeping a lasting intimacy with paper beyond its existence as a medium and its representation of traditional literary connotation. For paper, Liu Wei is a born match. He once said, “I have an inclination for paper. It is very comfortable. I can draw whatever I like in all ways without pressure.” Once he ran into paper and multi-leave albums he liked in Rong Bao Zhai, he made haste and bought it home. He would make efforts to make good use of his beloved paper even if it is not in the most appropriate size. His works of this feature composes a distinguished and important branch of all his works. The message of nature and humanities carried by paper goes through thousands of years and establishes an intangible but solid connection with Liu Wei.

Paper, as one of the Four Great Inventions of Ancient China, is not only the most symbolic characteristic of traditional Chinese painting but also the most basic element of Chinese painting. Due to its born features in material, flexibility in form, variety in development, and inscrutability in writing, it is the best choice of traditional Chinese literary men for painting and calligraphy. It not only is widely used as a painting material but also contributes to the change of painting techniques and hence influences the buildup of Chinese painting theories and projects a metaphysical implication for the Chinese philosophical system. More importantly, this implication directly points to the very essence of the traditional system, which is on the relationship between people and nature, people and inner selves. Therefore, paper, different from its position in other cultural systems, conveys humane feelings in oriental culture.

Paper-based works is a constant theme in Liu Wei’s artistic life. In this exhibition of paper-based works in Red Bridge Gallery, Liu Wei is to demonstrate lots of experimental creations on paper. Though brushwork varies wildly from people to people, a typical Chinese painting is always a piece of paper and and some ink. However, Liu Wei has his own thoughts. He tried various materials like pencil, bosh, crayon, pen, watercolor, and Chinese ink on paper to test its load capacity, and thus achieved very different artistic effects. Though these painting media and materials are commonly seen in daily life, Liu Wei creatively links them with paper. This boldness and imagination forms the typical style of Liu Wei.

Liu Wei started his career with prints. He did prints fast and good independently without any assistant. In this exhibition, he brings a brand new experience of prints where he printed five to six copies with one model and the differences of printing ink and printing strength made each copy unique. Furthermore, Liu Wei applied Chinese ink into prints by brushing diluted ink onto printed copies and thus enriching the sense of colors ranging from black to white. Thereafter, Liu Wei sometimes re-worked on prints and added subtle tastes to the prints from the same model — they resembled each other yet looked interestingly different. Besides, Liu Wei kept the original models and made the models artistic works by adding paintings on them. More interestingly, Liu Wei was inspired by the colors of black and white when making prints and came up with the amazing idea of imitating the effect of prints by pure painting.