Liu Zigsen
Artwork’s Title: After Tomorrow
Material Used: Oil on Canvas
Studio Based: Hangzhou, China
Can you tell us about the process of making your work?
I like the concept of computer simulation generation, which expands the appearance and way of painting. At present, contemporary figurative painting is either image-based or expressive. Of course, many young artists of my age have started to create based on computer models. However, in my opinion, most of them just convert model images directly into paintings. In essence, they are still image collage or a Photoshop concept. In my opinion, deconstruction, a very important thing in the history of painting, is not obvious, But I think that’s the key. Therefore, I prefer the concept of simulation. In my opinion, it is a way to analyze and abstract deconstruct and reconstruct the system of specific things in a certain algorithm or basic way. I hope that my own creation will reproduce this interesting process in the form of painting. Before creating, I will generally conceive an idea or clue, then select a specific object image, and then deal with the object in a drawing way similar to model deconstruction. In this process, I will try my best to use transparent colors and media, and use mechanical strokes to depict and cover again and again, so the model is constantly broken, stacked and reorganized until the picture produces an indescribable feeling between blur and clarity.
我喜欢计算机模拟生成的概念，这扩展了绘画的样貌和方式。目前的当代具象绘画要么是基于图像的，要么是表现性的，当然和我年纪差不多的年轻艺术家们有很多开始基于电脑模型去创作，但在我看来大部分只不过是将模型图像转换了个媒介再展现而已，本质还是图像拼贴和photoshop的概念，绘画历史当中在我看来很重要的事情—解构已经不怎么明显了，但我认为这是关键所在。所以我更喜欢模拟这个概念，在我看来它本身就是一种以某种算法或基础方式对具体事物的系统进行分析和抽象解构再造的方式，我希望我自己的创作以绘画的姿态重现这一奇妙的过程，我在创作之前一般会先构想出一个理念或者线索，然后选择具体的物象，再以类似模型解构的绘画方式去处理对象。在这个过程中我会尽力使用透明的色彩和媒介，使用机械的笔触去一遍遍的描绘和覆盖，于是模型不断被打破，层叠，重组，直到画面产生一种介于模糊和清晰之间的难以形容的感觉。
How would you define your work in a few words (ideally in 3 words)?
Model deconstruction, alienation, scientific and technological mysticism.
模型解构，异化日常，科技神秘主义
Could you share with us some insights on your ‘After Tomorrow’, (2021) painting? Is there any particular story behind this new work?
in the painting ‘After Tomorrow’, I used a familiar classic pattern – a close-up of the faces of men and women looking at the horizon at dawn. I use my painting method to treat the characters into a complex state that is clear and fuzzy. I hope that this painting can inspire the viewers to think about the future and their own existence.
《明天之后》这张画我使用了某种令人熟悉的经典图式—男人与女人在黎明中眺望地平线时的脸部特写。我以我的绘画方式将人物处理成一种即明确又模糊的复杂状态，我希望通过这张画来引发观者一些关于未来和自身存在处境的思考。
You also have been involved in the art field of sculpture; in comparison to your paintings, do you have any different artistic references or personal motivations when you decide to create a sculpture?
I studied sculpture as a undergraduate in China Academy of Art and painting as a graduate student. Therefore, I have different feelings and views on space, especially how the space in painting shows depth. When I return to sculpture, I hope that my ideas and paintings are consistent. Therefore, in sculpture, I analyze and disassemble the model more directly. Different from the planarity of painting, sculpture is three-dimensional and can show objects in multiple directions. This can be regarded as a continuation of my painting in real space.
我在中国美术学院本科时期学习的就是雕塑专业，研究生是绘画专业，因此我对空间有着不同的感受和看法，特别是绘画中的空间是如何展现纵深的。当我回到雕塑创作，我希望我的理念和绘画是一致的。因此在雕塑中我更加直接的去分析模型，拆解模型。与绘画的平面性不同，雕塑是立体的，可以多方位的展现对象，这也算是我的绘画在真实空间中的一种延续吧。
Do specific artworks have been created by random experiments in your studio or do you usually come up with a particular concept or narrative in the very beginning of your artistic process?
I always think that creation needs to be restricted first and then free creation. I must keep my mind clear. I like to determine the concepts, images and models first, including the choice of colors and strokes. After these foundations have been laid, I can freely play in the next painting process, constantly break through the original limitations, and I will always keep many random things
我一向认为创作是一个先给自己一些限制条件然后再自由发挥的事情。我需要保持思路的清晰。我喜欢把概念和图像，模型先确定下来，包括颜色的选择，笔触的选择，在这些基础被奠定之后，我才能在绘画的过程中更自由的发挥，不断的突破原有的限制，并且很多随机产生的东西我会一直保留。
Is there any particular theme that utterly triggers you to engage your art with?
People.
人。
What would be the best way to exhibit your work?
Painting and sculpture are interrelated and the clues are coherent.
绘画与雕塑相互观照，线索连贯。
Can you mention any artists you, lately or generally, take inspiration from?
Cezanne, Bacon, Gerhard Richter, etc. dare to jump out of the existing painting system and think and explore new ways of painting. Recently, I like Bernard Frize. The transparency of his brush strokes and the interweaving of colors inspired me.
塞尚，培根，格哈德里希特，等等，他们敢于跳出既有的绘画体系，思考和发掘绘画新的道路。最近比较喜欢的是Bernard Frize，他笔触的透明性和色彩的交织方式启发了我。
What about the place where you work? What’s your studio space look like?
My studio is next to the Hangzhou safari park, China. There are two floors, one for creating and the other for storing and displaying works. It’s a quiet place for me to create new things.
我的工作室在中国杭州的野生动物园旁边，有两层空间，一层用来创作另一层用来储存和展示作品。这里非常安静，我可以静下心创作。
Which are your plans for the near future?
There are some exhibition plans in the near future, including an upcoming solo exhibition. I will continue to create more works in other time.
近期有一些展览计划，包括一个即将到来的个展，其他的时间继续创作。
Additional Paintings
All images courtesy of the artist