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I always believe that the warmth of handwork can't be replaced by any mechanical production. Zhihan Liu interviewed by Klimt02

Interview  /  Artists   中文版-ChineseVersion
Published: 09.07.2019
Zhihan Liu Zhihan Liu
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona
Edited on:
2019
Zhihan Liu. Object: Gorgeous 2, 2019. Brass wire, Asian natural lacquer.. 65 x 58 x 11 cm. Photo by: KC Studio. From series: Accompany. Zhihan Liu
Object: Gorgeous 2, 2019
Brass wire, Asian natural lacquer.
65 x 58 x 11 cm
Photo by: KC Studio
From series: Accompany
© By the author. Read Klimt02.net Copyright.

Intro
I would say there is more aboriginality in my work. When studying abroad, you will find that your motherland is far more important to you, even beyond your imagination. So in the process of artistic creating, you will unconsciously reflect this homesick in works.

中文版 - Chinese version      View / hide description

What's local and universal in your artistic work?
I would say there is more aboriginality in my work. When studying abroad, you will find that your motherland is far more important to you, even beyond your imagination. So in the process of artistic creating, you will unconsciously reflect this homesick in works. Even the theme of my series works is revolved around hometown and memory.


What do you expect when you show your work to the public (for example, with an exhibition)?
The answer to this problem still depends on the nature and purpose of the exhibition itself. For academic exhibitions, I hope I can get more opinions and suggestions through the exhibition, which can help me improve my creativity. And as well, for sure, I expect the selling exhibition can make people get access to my works and take them away so that people can be connected with my works and at the same time offer valuable suggestions.


How important is handmade for you in your development? What role does technics and technology play in your development?
Handwork has played a decisive role in my development. I am a systematic metalwork student, so it is understandable that I have some passion for being craftsman anyway. I always believe that the warmth of handwork can't be replaced by any mechanical production, and the pleasure of handwork is as well indispensable. The use of technology is also crucial to the work. In my opinion, the completeness of work is mostly reflected by the technology used in it.


When you start making a new piece what is your process? How much of it is a pre formulated plan and how much do you let the material spontaneity lead you?
It depends on what I do. If I do a series of artworks, firstly, I will search for materials scattered across nature. Then I will hole up myself in my room, organizing materials, designing, experimenting and finally creating. It's a long process. Meanwhile, other small pieces of work come from some casual inspiration coming into my mind during rest time. I still prefer metals. As mentioned above, which can be regarded as some passion. I insist on hand-making. My jewellery brand is mainly a completely handmade series of metal weaving, without using any other materials or mechanical production.


Are there any other areas besides the jewels present in your work?
I don't do much jewellery works. Since I was a graduate student, I have mainly focused on creating objects. Not until I established my own jewellery brand, did I begin to take it into account.


How important is wearability in contemporary jewellery? And in your pieces?
The main purpose of my contemporary jewellery is high wearability. They may not be so comfortable, but it must can be worn. In the Korean jewellery, it is called Jangshingu, which means the object should be valuable and can be used to decorate body as well, no matter it is modern jewellery or a practical one, so all my modern jewellery works can be worn.


The last work, book, film, city that moved me was…
SHOP CLASS AS SOULCRAFT, written by Matthew B. Crawford. This book really moves me. The writer has explained the importance of hand-making and the joy it brings to people through the simplest language and vivid examples.


What/who is the biggest influence in your career?
When I was undergoing my master study in Korea, my tutor Seo Dosik had a great impact on me. I admire his craft attainments, but what makes me admire him most is his contribution to the whole Korean craft industry, including promoting Korean traditional crafts and leading it to the world.


Which piece or job gave you more satisfaction?
The best one should always be the next one. I think the job that makes me satisfied should be to create my own works quietly if I am allowed not to think about livelihood or social relations.


What is your source to get information?
I would say it is life — well, to be specific, it is the nature, and of course, it is the nature of our life.


Considering the experiences you have had over the years - if you could go back and give yourself a piece of advice for the start-up phase, what would that be?
Please start to run your own art shop when you are at your undergraduate study. Do not be immersed in just making things in your own world, oblivious of the outside world. Because it will lead to a lack of managing experience, which is fatal.


Can you describe your personality in 3 words, describe your work in 3 words.
Quiet, gentle and helpful (it’s hard for me to say NO).
Loneliness, patience, peace.
 
Zhihan Liu. Object: Memory, 2015. Brass wire, Asian natural lacquer.. 49 x 49 x 10 cm. Photo by: KC Studio. From series: Accompany. Zhihan Liu
Object: Memory, 2015
Brass wire, Asian natural lacquer.
49 x 49 x 10 cm
Photo by: KC Studio
From series: Accompany
© By the author. Read Klimt02.net Copyright.
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