When the first horizon appeared in the frame, it revealed the ground of creation, and the world was divided, where champaign appears. It seems like an emptied tabletop, the images here are sequentially generated, interfered, and fused. I always keep focusing on the precise motif of space superposition and creating a certain order. In this context, I am so obsessed with exploring the alienated, altered presentation of portraits and daily objects. In such an original, complex, and uncertain system full of multiple semantics, I want to start a wandering painting trek, a wildplain epic in the simulacra way.
Liu Zhicheng is obsessed with exploring the alienated presentation of people and everyday objects in his paintings. Liu Zhicheng once proposed the concept of "technological enchantment", that is, in the current era of the proliferation of media images, cognition has shifted from the natural world to the simulated world. While technology is constantly disenchanting objects, it is also re-enchanting in another way. We are fascinated by objects. Conceptual cognition is constantly flowing and shifting in this state.
Artists who grew up in the wave of electronic graphics seem to have a special sensitivity towards analog images. In his works, all kinds of ordinary objects present a dematerialized state under his unique layered brushstrokes. The light and shadow, color blocks, and object shapes and details depicted are different from the observations in reality but are constructed by Liu Zhicheng. The original codes in the field of simulacra jointly weave the images he understands and reconstructs.
From the "terminal jungle" to the "wilderness", Liu Zhicheng constantly empties himself to the state of the beginning and displays his staged thinking and exploration of new interfaces and small worlds. In the new series, Liu Zhicheng starts with the concept of "horizon". The picture is divided into two by the horizon to form a space, where objects and images also exist and occur. At the same time, the artist's painting wandering also proceeds in this wilderness. Those primitive, mysterious, and uncontrolled alienated logics burst out.
Liu Zhicheng does not strictly define the relationship between his wilderness world and the real world. This connection is fluid for him - alternative images of real objects constantly appear, and the original concept is constantly broken, making this place more like a choreographed "parallel world", allowing us to glimpse the other side of everyday objects. The possibility of change (alter). Liu Zhicheng believes that his artistic creation is also a process of creating a world, and "wilderness" is a part of it, a new, original, and open interface.
When talking about the sources of everyday objects in his works, Liu Zhicheng shows a relaxed attitude that is different from rational working methods:
"Trees, animals, bones, flowers, fruits, books, people, mixed, integrated, reconstructed, alienated, symbolic, metaphorical, dismantled by space... Maybe it doesn't make sense, maybe I can make it They make some sense."
