In this group of work, Liyu explores the alternative ways of image-making: By reconstructing the scenes from the film "The Living End" with abstract and shadeless painted shapes, he reveals the restless emotions embodied within the original composition and offers a radical and somewhat surreal storytelling. His work creates new space for speculation and then becomes a semiautonomous aspect of lived experience for the artist himself as much as the viewer. 

The Living End

'It’s so hard to believe that you are really, really, really there' considers the inexpressibility and the embodiment of the pain. The video poetry consists of phrases that are randomly selected from psychoanalyst Donald Moss's "I AND YOU": each day, for one year, at the end of every session, he wrote down one sentence his patient had said. The two performer's actions then embodied the emotions of the strangers, and act as a voice of the pain 


It’s so hard to believe that you are really, really, really there

60s, 24h captures the ongoing action of two performers and geometries inhabited in the phones. The work considers the embodied simulations and creates different ideas of the bodily presence.

The Phantom geometries are the restless mediators between the bodily presence of two performers, the reality and virtual space. Revealing the ways in which action, object understanding can change interpersonal and spatial experience during the performance. It is a process that is not concerned with making sense of that choreography sequence are executed, Instead, sense is made when performers correctly perform the mapped actions within their phones and subsequent performance of the bodies.

60s, 24h attempts to expand our understanding of what performance means outside of conscious thought or intentionality, and speculate a new way of performance making that extended far after the face-to-face encounter, into a murkier realm of chemical pathways and electric impulses of the brain and body.

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