INSPIRATION|Let's sew a small book, artist Szuyu Liu Liu Sizhen

"Sneaked out the backdoor", 2014. Daolin paper, cotton thread, acrylic paint, transparent acrylic sheet, three-layer board, canvas.

The little book is covered layer by layer, like a Russian doll, but it is not like a complicated body. It consists of delicate parts and small parts. There is a picture hidden between the pages of the book. The text is written with secrets. Each element cannot be easily separated in this "book", they are all part of the story - for the artist Szuyu Liu Liu SizhenIn terms of creation, the book is no longer just a carrier of message transmission; the book should be a place with lots of space and details. In the process of reading and reading, it seems to move in space.

"Sneaked out the backdoor II", 2015. Daolin paper, cotton thread, acrylic paint, transparent acrylic sheet, wood board.

"Sneaked out the backdoor", 2014. Daolin paper, cotton thread, acrylic paint, transparent acrylic sheet, three-layer board, canvas.

"Sneaked out the backdoor II", 2015. Daolin paper, cotton thread, acrylic paint, transparent acrylic sheet, wood board.
"Sneaked out the backdoor", 2014. Daolin paper, cotton thread, acrylic paint, transparent acrylic sheet, three-layer board, canvas.
"Sneaked out the backdoor", 2014. Daolin paper, cotton thread, acrylic paint, transparent acrylic sheet, three-layer board, canvas.
"Sneaked out the backdoor", 2014. Daolin paper, cotton thread, acrylic paint, transparent acrylic sheet, three-layer board, canvas.

There are many ways to create space in the book. Literature uses words as a clue to develop space; picture books and photo collections use images to create the viewer's cognitive field; binding design from paper material to typographic design gives the book a different view. Perspective. The greedy eyes of reading are based on the specific nature of various books. The hands that are held up feel the texture of the pages. The senses of vision, touch and even the smell of the pages of the book, and the perception and the boundary of consciousness, we use the senses. With a mood, read a book. For Szuyu, the production of words, images and books in the creative process is a space in which each other is closely connected and constructs and thinks about a book.

"NO", 2012. 65 x 80 mm, water-based crayons, acrylic paint, cotton linen, cotton, old pages. Use the old book page to create an illustration, and fold the three-dimensional space between the pages, continuous and inside and outside.

"NO", 2012. 65 x 80 mm, water-based crayons, acrylic paint, cotton linen, cotton, old pages. Use the old book page to create an illustration, and fold the three-dimensional space between the pages, continuous and inside and outside.
"NO", 2012. 65 x 80 mm, water-based crayons, acrylic paint, cotton linen, cotton, old pages. Use the old book page to create an illustration, and fold the three-dimensional space between the pages, continuous and inside and outside.
In warm and thick palms, 2012. 65 X 85 mm, pencil, Daolin paper, kraft paper, black ivory, staple.
In warm and thick palms, 2012. 65 X 85 mm, pencil, Daolin paper, kraft paper, black ivory, staple.
In warm and thick palms, 2012. 65 X 85 mm, pencil, Daolin paper, kraft paper, black ivory, staple.

"I am used to using different elements to describe the different aspects of a thing, just like text, illustration, and book forms, providing clues for the viewers to piece together the possible appearances; they may be clearly intertwined with each other, or It seems that each has its own existence. How the body of the book should become an appropriate metaphor, rather than highlighting the form, is still the thinking activity that I hope to continue." - Szuyu Liu Liu Sizhen

"NO", 2012. 65 x 80 mm, water-based crayons, acrylic paint, cotton linen, cotton, old pages. Use the old book page to create an illustration, and fold the three-dimensional space between the pages, continuous and inside and outside.

In warm and thick palms, 2012. 65 X 85 mm, pencil, Daolin paper, kraft paper, black ivory, staple.

"XT", 2016. 65 x 110 mm, pencil, and paper, hand stitching, Daolin paper.
"XT", 2016. 65 x 110 mm, pencil, and paper, hand stitching, Daolin paper.
"XT", 2016. 65 x 110 mm, pencil, and paper, hand stitching, Daolin paper.
"XT", 2016. 65 x 110 mm, pencil, and paper, hand stitching, Daolin paper.

Text and illustrations are an important part of Szuyu's creation. At the time of the research, she was exposed to the production of handmade books, and then began to intermix the paper, cloth, thread, writing, and image, and used the book as a carrier to become a story. The media is content, the content opens up space, and the space accommodates the story. Most of these stories closely link the artist's personal experience, including the city she grew up with, the changes in human geography, and the trivial notes of personal privacy. In 2016, the work "XT", Szuyu started a dialogue with the urban architecture of his own life, like a biography of a building; writing a building and reflecting life, many things, if not secret, will not appear plain.

"For those cannot be seen-the scene", 2012. Daolin paper, cotton thread, cotton cloth, acrylic paint, dense board, maple and other composite media. "0 Preface: Existence is just (thinking) can't see,"1 Wrapped wrap: Exist but can't see,"2 Journals Diary: Exist but not willing to watch,"3 Kept, Trapped Reluctance and ambiguity: the existence and existence of shadows,"4 Should it snow? Snow: Exist and beautiful."

"For those cannot be seen-the scene", 2012. Daolin paper, cotton thread, cotton cloth, acrylic paint, dense board, maple and other composite media. "0 Preface: Existence is just (thinking) can't see,"1 Wrapped wrap: Exist but can't see,"2 Journals Diary: Exist but not willing to watch,"3 Kept, Trapped Reluctance and ambiguity: the existence and existence of shadows,"4 Should it snow? Snow: Exist and beautiful."

For those cannot be seen-1 Wrapped, 2012. "1 Wrapped wrap: Exist but can't see", Daolin paper, cotton thread, cotton cloth, acrylic paint, branches.

For those cannot be seen-1 Wrapped, 2012. "1 Wrapped wrap: Exist but can't see", Daolin paper, cotton thread, cotton cloth, acrylic paint, branches.

"XT", 2016. 65 x 110 mm, pencil, and paper, hand stitching, Daolin paper.

"XT", 2016. 65 x 110 mm, pencil, and paper, hand stitching, Daolin paper.

"For those cannot be seen-the scene", 2012. Daolin paper, cotton thread, cotton cloth, acrylic paint, dense board, maple and other composite media. "0 Preface: There is only (I think) can't see", "1 Wrapped Wrap: Exist but can't see", "2 Journals Diary: Exist but not willing to watch", "3 Kept, Trapped and Resent: Existence "The shadow of existence", "4 Should it snow? Snow: Exist and beautiful."
"For those cannot be seen-the scene", 2012. Daolin paper, cotton thread, cotton cloth, acrylic paint, dense board, maple and other composite media. "0 Preface: There is only (I think) can't see", "1 Wrapped Wrap: Exist but can't see", "2 Journals Diary: Exist but not willing to watch", "3 Kept, Trapped and Resent: Existence "The shadow of existence", "4 Should it snow? Snow: Exist and beautiful."
For those cannot be seen-1 Wrapped, 2012. "1 Wrapped Wrap: Exist but can't see", Daolin paper, cotton, cotton, acrylic paint, branches.
For those cannot be seen-1 Wrapped, 2012. "1 Wrapped Wrap: Exist but can't see", Daolin paper, cotton, cotton, acrylic paint, branches.
For those cannot be seen-1 Wrapped, 2012. "1 Wrapped Wrap: Exist but can't see", Daolin paper, cotton, cotton, acrylic paint, branches.
For those cannot be seen-1 Wrapped, 2012. "1 Wrapped Wrap: Exist but can't see", Daolin paper, cotton, cotton, acrylic paint, branches.

Small-sized works, looking back, I feel that perhaps it is a reliance on "covering": the book can hold a sense of security between the palms. Such a sense of wrap is often reflected in the arrangement of the content, and it feels concealed when viewed. ——Szuyu Liu Liu Sizhen

However, in the era when the book printing industry was gradually weakened, there were still a certain number of restrictions on the issuance and circulation of independently produced manual books, and it was impossible to operate in a commercial circulation of publications. For artists who use books as their work, there is a threshold between independent production and commercial publishing, including commercial operations; but more importantly, where are the independently produced books, the messages and objects they deliver What is it - even if it is published in a small amount, it has a special posture that is different from ordinary books. The manual process, the binding method, the inner mood and the picture of the soul are gathered into a page with rich layers and textures; in addition to reading, it is more like feeling the emotional notes in art.

"Sneaked out the backdoor II", 2015. Daolin paper, cotton thread, acrylic paint, transparent acrylic sheet, wood board.

"Book of A Year of the Year", 2016. Bamboo carbon cloth, white oak, embroidery thread, exotic lining.

"Book of A Year of the Year", 2016. Bamboo carbon cloth, white oak, embroidery thread, exotic lining.

"Sneaked out the backdoor II", 2015. Daolin paper, cotton thread, acrylic paint, transparent acrylic sheet, wood board.
"Book of A Year of the Year", 2016. Bamboo carbon cloth, white oak, embroidery thread, exotic lining.
"Book of A Year of the Year", 2016. Bamboo carbon cloth, white oak, embroidery thread, exotic lining.
"Book of A Year of the Year", 2016. Bamboo carbon cloth, white oak, embroidery thread, exotic lining.
"Book of A Year of the Year", 2016. Bamboo carbon cloth, white oak, embroidery thread, exotic lining.

When it comes to the way of binding various books, "the most basic Coptic Binding, the simple technique contains a lot of variability," Szuyu said; and the form of hardcover book, thick shell wrapped with paper, cloth, framed books There is space and she loves it. "Japan's bean factoryAkai, emotions and techniques are delicate. Wang Zhihong and the binding design of the blank area are also appreciated by Szuyu. In the category of favorite reading, "Nicole Krauss's "The History of Love" is by far the favorite book. The author's "Great House" also likes it very much. Every time you look at it, you will still be The swirling text of the details is involved.” She also likes Chen Xue’s “Skyscraper” and Wu Mingyi’s “The Magician on the Flyover”, from the writing of life to the depiction of characters, like throwing small stones in the calm water, and reaching their own Magical space. Speaking of this, and corresponding to the book made by Szuyu hands, the arrangement of the content design, like the air flow, let the book have a wind blowing; slightly cool feeling, hard to say, but will be.

For those cannot be seen-2 Journals, 2012. "2 Journals Diary: Exist but not willing to see, vol 3. 2010", Daolin paper, ivory card, gray cardboard, cotton thread, acrylic paint.

"For those cannot be seen-4 Should it snow?", 2012. "4 Should it snow? Snow: exist and beautiful", ivory card, fishing line, acrylic paint, dense board.

For those cannot be seen-2 Journals, 2012. "2 Journals Diary: Exist but not willing to see, vol 1. 1988", Daolin paper, ivory card, gray cardboard, cotton thread, acrylic paint.

For those cannot be seen-2 Journals, 2012. "2 Journals Diary: Exist but not willing to see, vol 3. 2010", Daolin paper, ivory card, gray cardboard, cotton thread, acrylic paint.
"For those cannot be seen-4 Should it snow?", 2012. "4 Should it snow? Snow: exist and beautiful", ivory card, fishing line, acrylic paint, dense board.
"For those cannot be seen-4 Should it snow?", 2012. "4 Should it snow? Snow: exist and beautiful", ivory card, fishing line, acrylic paint, dense board.
For those cannot be seen-2 Journals, 2012. "2 Journals Diary: Exist but not willing to see, vol 1. 1988", Daolin paper, ivory card, gray cardboard, cotton thread, acrylic paint.
"For those cannot be seen-4 Should it snow?", 2012. "4 Should it snow? Snow: exist and beautiful", ivory card, fishing line, acrylic paint, dense board.

Subjective self-narrative, this is the common creative theme and method of independent creators today, and gradually expands the appearance of life with their own vision. Even small, but uniquely exists, just like her work, like people who walk on the road of creation. If she is fortunate enough to meet with the gods in charge of the book, "Can you exchange your identity with you?" If she exchanges her identity with the book god, "I want to continually stimulate the creators to produce books of all kinds." She said, "The god who rules the book can do this!"

 

All Images Courtesy of Szuyu Liu.

 

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