Size: Variable dimension
“Horizon” is a conceptually infinitely extended boundary between the earth and the sky, but it never exists in anywhere of our world. Or in another word, it’s an abstract line that presented in a realistic way. To title the exhibition as “Horizon” is because the abstractness and concreteness of Liu’s artworks are coherent with the unique characteristic of “horizon”. We can obviously see the difference between this exhibition and the Untitled series, as the artworks showing this time, Bone, Blank Paper series, Container series and A Reed Raft, are all giving a concrete recognition of the represented objects. If you describe Untitled series as an obvious resistant reaction of Liu Jianhua towards concepts and symbols, then “Horizon” will be an exhibition with a concealed and detached attitude. Like, when we are gazing the porcelain “reed raft” on the almost empty wall, it’s hard for us to retrieve any information familiar to us in everyday life. It’s seemingly just a piece of reed; we may simply be notified western minimalism in our first glance of the Blank Paper series, but with a closer look, the subtle details in the slightly coiled corners of each paper, which are magnified by the use of porcelain as medium, will tell the difference between Liu’s works from the basic use of points, lines and faces in western abstract style and minimalism. Because of the ineffectiveness of connecting these artworks with our contemporary context, we find a new perspective to embrace to the pursuit for “impression” and “implications” in our traditional Chinese culture. This is why ancient Chinese painters can evoke infinite spiritual connotation even they were drawing explicit sceneries, and this is how this relationship between abstractness and concreteness is different from western conceptual art.