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Poppies
Details
LIU DAN (B. 1953)
Poppies
Scroll, mounted and framed
Ink and colour on paper
39.4 x 43.5 cm. (15 1/2 x 17 1/8 in.)
Poppies
Scroll, mounted and framed
Ink and colour on paper
39.4 x 43.5 cm. (15 1/2 x 17 1/8 in.)
Further details
Few flowers encompass such a wide array of uses and symbolic meanings across different cultures and traditions as poppy. From representing beauty, to remembrance, to modern medicine, poppy possesses robust visual and practical qualities which ironically contrast with the humble presence of this small, elegant yet resilient flower.
The versatility of the poppy flower could precisely be the reason why it intrigued Liu Dan in the very first place. The artist is attracted to daily life objects, such as rocks, dictionaries, and flowers because he sees in them mystery and uncertainty. Although it appears that Liu portrays a faithful representation of his subject matter, the scrupulous details he depicts are deceiving to the observer. With an ultimate fascination in the structural properties of things around him, Liu Dan actively removes his subjects from their original context. By decontextualising his subject matter, he abandons the narrative and distils his paintings to become a pure visual experience. Liu’s firm belief to not “tell a story” allows viewers to pay attention only to what appears in front of their eyes, that is, the aesthetic harmony born out of Liu Dan’s mind, body and paint brush.
In many ways, Liu Dan’s paintings offer a fantastical refuge to its viewers. As his subject matter often appears to be more beautiful than in reality, one would never see the objects he paints the same way again, but wonder at the complexity of everything and the emotions it can unleash. This visual delight fulfils Liu Dan’s intention to create art, as he insists that “your one responsibility as an artist is changing the visual experience of people, the way they look at things. Your one purpose is to encourage an openness of mind that allows them to look beyond everyday concerns and think freely.” Although undated, Liu Dan painted most of his poppy paintings in similar style in the early 2000s, when the artist was living in New York.
The versatility of the poppy flower could precisely be the reason why it intrigued Liu Dan in the very first place. The artist is attracted to daily life objects, such as rocks, dictionaries, and flowers because he sees in them mystery and uncertainty. Although it appears that Liu portrays a faithful representation of his subject matter, the scrupulous details he depicts are deceiving to the observer. With an ultimate fascination in the structural properties of things around him, Liu Dan actively removes his subjects from their original context. By decontextualising his subject matter, he abandons the narrative and distils his paintings to become a pure visual experience. Liu’s firm belief to not “tell a story” allows viewers to pay attention only to what appears in front of their eyes, that is, the aesthetic harmony born out of Liu Dan’s mind, body and paint brush.
In many ways, Liu Dan’s paintings offer a fantastical refuge to its viewers. As his subject matter often appears to be more beautiful than in reality, one would never see the objects he paints the same way again, but wonder at the complexity of everything and the emotions it can unleash. This visual delight fulfils Liu Dan’s intention to create art, as he insists that “your one responsibility as an artist is changing the visual experience of people, the way they look at things. Your one purpose is to encourage an openness of mind that allows them to look beyond everyday concerns and think freely.” Although undated, Liu Dan painted most of his poppy paintings in similar style in the early 2000s, when the artist was living in New York.
Brought to you by
Sibley Ngai