This article is excerpt from a conversation between Calvin Hui, Co-founder and Chairman of 3812 Gallery, and artist Liu Yangwen at his Shanghai studio in June 2025. During this interview, Liu shared with us the inspiration behind the exhibition, as well as their experiences and creative pursuits in their artistic practice.
On the Inspirations from Music
Hui (hereafter referred to as Hui): So, I feel that you draw inspiration from Pierre Boulez's music, which has evolved into your artistic style - a distinctive approach to manifesting your unique perspective. I think you’ve achieved it. You've fused the essence of the masters' music, the virtue of masterfully composed visual art, and your own experience into the very accomplished work you’re creating now.
Liu Yangwen and his painting:
Explosante-Fixe, 2025, Oil on canvas, 190 x 390cm, triptych (190 x 130cm each)
Liu Yangwen (hereafter referred to as Liu): Yes, I’m pleasantly surprised myself. I first painted, and then later came across Bacon’s discussion of Boulez’s theory on “Explosante-Fixe.” Then, I went to see the “Explosante-Fixe” concert and listened to the piece. While listening to both the piece and Boulez’s own explanations, I felt it was incredibly similar to my painting.
Older classical music was often narrative, telling a story. Boulez said in his writings on “Explosante-Fixe” that he wanted to first remove narrative, to remove the so-called content and story. Once removed, his music felt very jumpy, explosive, yet you can sense a solid core throughout the whole 20–30-minute piece. Its structure holds the explosive notes perfectly in place at every moment. So, by taking the initiative to eliminate the narrative, he was able to purify his art.
That viewpoint resonates with me a lot. My expression is definitely non-narrative – whether it's flowers, landscapes, or figures. If it's a figure, it's usually just one person. If there are two or more people, there's almost inevitably some narrative involved; there's always some kind of story happening between them. With just one person, there generally isn't. This expression, firstly, has no literal substance; Secondly, the surface appears explosive, radiating, with lines constantly crisscrossing. These lines, planes, points, and their combinations would ultimately form a very solid structure.
On the Evolution of Style
Hui: Your previous sunflowers paintings represented a dialogue with Van Gogh. Has your phase of painting flowers now concluded? Or do you feel you’re no longer influenced by Van Gogh or other factors?
From left: Liu Yangwen, 4-6-22, 2022, Oil and acrylic on canvas, 150 x 150cm;
Liu Yangwen, Unusual state-5, 2025, Oil on canvas, 160 × 120cm
Liu: I believe this dialogue with artists is probably perpetual. This is at the core of my art. As I've said before, every artist must possess something distinctly their own. This "something distinctly their own" can manifest in form - for instance, a sunflower might be painted slimmer, more rounded, or more angular than others. It can also reside in brushwork; This is something Van Gogh did very meticulously.
There's not much meaning in creating work that resemble others’ too closely. When I paint sunflowers, for example, I always title them simply as "Sunflower". I want people to recognize that I am painting a sunflower, and to understand that this is how I choose to paint my sunflower. Essentially every artist who has entered the annals of art history possessed their own unique approach. Hardly any of them made their mark solely through storytelling, right? Storytelling leans into a literary quality; for those in art history, painting cannot solely rely on literature, philosophy, and narratives, as it ultimately hinges on visuality.
Liu Yangwen’s bookshelf and his painting in studio
Liu Yangwen, 16-2-25, 2025, Oil on canvas, 120 × 90cm
Hui: Starting in around 2023, you began working in a manner that was bolder, looser, more liberated… but now, some of your recent works seem to return to your earlier style, which paid more attention to form, structure, spatial relationships, and so on. Does this mean that while exploring these freer, more unrestrained styles, you occasionally need to return to the rhythm of your past creative process as a way to recalibrate?
Liu: Personally, I might have had identified my fundamental brushwork and visual effects early on, so then I would inevitably continue to evolve in a similar vein. This evolution is gradual. For instance, the first work you paint in a series and the tenth, or even the thirtieth, will have subtle differences - perhaps in proficiency, or in the control and command of the technique and the artistic language. These aspects will change, but the shift won't be drastic or radical. If a radical change occurs, it likely signifies a transition into a new phase entirely.
What I'm exploring in my current phase is this sensation of abundant, flat, but somewhat chaotic and explosive lines. My aim is to paint another seventy or eighty pieces pursuing this feeling, striving to achieve the exact effect I initially envisioned by the final works. When you first engage with a new brushstroke or language, it's challenging to control it effectively, even though “happy accidents” may occur. However, through repetition, mastery becomes more attainable. Though this is all relative, and has its own pros and cons.
Hui: Take your "Flowers" series for example. It’s been seven years since around 2018, and you were painting them even earlier. From then until now, what changes do you feel in how you approach this theme? Or, regarding this theme, what would you like to tell audiences through this exhibition?
Liu: My change is that I have become much more relaxed and at ease. That’s probably the key. Before, I felt that every detail had to be extremely precise, well thought-through and flawless in execution. So, I would try to render every single detail perfectly. However, since last year and this year, painting has been a much more relaxed process for me. I don’t obsess over tiny details, yet everything still feels resolved. Previously, I might would have reworked it a couple of times. Now, when things feel reasonable, resolved, and looks good, I stop.
Hui: Let’s return to your "self-portrait" - the moment I saw this portrait, I felt it was a self-portrait of Liu Yangwen. Is that correct?
Installation view of “Explosante-Fixe”
From left: 7-9-24, 2024; Giacometti Portrait, 2025
Liu: I think, to some extent, it is indeed a depiction of myself. Primarily because you interact with yourself more than anyone else; you see your own reflection every day. Eventually, when painting - especially during the process of creating figures - you may find the image gradually transforming into a version of yourself. Moreover, whether I’m painting flowers, mountains, animals, or people, it ultimately stems from the same expressive approach, only applied to different subjects.
In fact, I believe every painting is essentially a self-portrait. All the perceptions of one’s surroundings, one’s mental state, and oneself - everything eventually manifests onto the canvas. It’s all a form of self-expression.
Hui: It goes back to what you mentioned earlier about "intuition" - something ultimately beyond explanation. Yet, you also just spoke of your experiences and perceptions of society. So, would you say your work also reflects life or your surroundings?
Liu: It undoubtedly does.
Installation view of “Explosante-Fixe”
From left: Unusual state-5, 2025; The Angry Remain Silent, 2024; Wild Smoke Entangles the Hills, 2025; The Wizard of Oz-3, 2024; Snow Dance, 2024
On the Influence of Environment
Hui: Over the last couple of years especially, during this process, were there specific experiences that convinced you this relaxed way of painting felt smooth and sustainable? Also, have changes in your life - such as getting a new studio - influenced your work?
Liu: Firstly, when I first got my studio in Shanghai last year in August, my first thought was to design and renovate it according to my own standards and vision. The moment I received my space, I already knew how I wanted to decorate and organize it. Here I have my vintage furniture as well as my own sound system, I really enjoy listening to classical music. Whether it’s the artists I admire, or the music, or the environment… the whole space gives me energy; it subtly influences me. It’s not deliberate – it’s not like playing intense music prompting you to paint an intense picture. The influence creeps into the painting process chronically and without knowledge. Therefore, this studio in itself is also a crucial element to my pieces. The furniture I choose – its colour, appearance, even down to the very painting that hangs on the wall behind the sofa in my listening room that matches the overall ambience of the space. All these elements are related to one’s taste, and as Steve jobs said, “Ultimately, it comes down to taste.”
Lounge of Liu Yangwen's studio in Shanghai
Things I have previously mentioned, like the space I grew up in, the education and aesthetics from my parents, how I judge things and life – all eventually shows up in the painting. It’s hard to put into words, but you can see it in the work.
Liu Yangwen at his studio in Shanghai
Hui: I sense that, especially coming to your Shanghai studio. Looking at you standing here, your works – forgive me if this sounds unwelcoming – I see a hint of Liu Guofu’s influence, but I think that’s good! To me, Liu Guofu is a great artist. Standing here now, you seem very confident and full of ideas. Your thinking and approach… how to put it… have a certain presence, a quality I recognize from Liu Guofu.
Liu: What you’re saying is definitely positive for me. I have come to understand how I became who I am and why I paint the way I do. While it is deeply connected to my father, we have actually never discussed how to paint specifically – we always talked about art and what its most important aspects are, its core ideas and its ultimate goals. When it comes down to painting, though, what I ought to do is to think independently and create with my own, unique ways. My father’s aesthetics and taste in both music and visual arts are always affecting me. For me, I see it as a positive influence.
Hui: While I see Liu Guofu’s influence on you in many things you embrace, such as the artists you admire, your styles, your music preferences, and overall environment of your studio, you're increasingly finding your own distinct path. That's especially good.
Liu: In the beginning, when I first approached oil painting in university, I just painted blindly and without purpose, hoping to create something interesting. However, I made sure to keep one thing in mind, which is to be sincere in all my creations; When you’re sincere in your creations, you will be able to express from the heart. When you express from the heart, you will be able to reflect yourself onto your pieces.
Sincere expression is important, but to be completely sincere is exceedingly difficult. We aren’t like children in that sense. Children express themselves authentically; their expression isn’t clouded by external influences. They haven’t studied numerous artists or read extensively - they paint purely from instinct and innocence. Yet, in another sense, a child’s painting lacks intentional meaning.
On the Creative Process
Hui: Actually, before you start creating on the canvas, do you make preliminary sketches, or do you really work without any drafts?
Liu: No, I don’t. I don’t use any sketches - I simply let the brush lead.
Hui: Not even for portraits?
Liu: Right. It keeps evolving.
Hui: So, would you consider that (a piece in Liu’s studio) a kind of draft?
Liu: Everyone uses drafts differently. My approach is more subjective, more intuitive. When you rely on intuition, you don’t really need a draft. Even if you start with one, as you continue painting, everything may already have shifted.
Hui: Look at this piece! Even though it was created in your early days, I can already discern the explosive structure (that defines your style later on). The black lines within this structure - though it’s still in progress - are already visually compelling and interesting. I can see a central form beginning to emerge, but at the same time, there’s also this expansive, freehand, almost casual quality. It’s intriguing - it feels “light.” Most of your works here feel heavy; your final state usually expresses both explosion and a sense of solidity. But this one feels very light, almost like it’s floating.
You might consider letting this state become a point of contrast or even a companion piece in the future - a finished work presented alongside its process. I think that could be very interesting.
Liu: Yes, Mr. Hui, that’s something I’ve actually been considering lately. If I were to explore new directions moving forward, I would incorporate more of what you just described - a greater sense of lightness, or transparency. While maintaining transparency, it still retains its structural integrity
Hui: There’s also a certain breathability to it.
Liu: Exactly. But at the same time, I wouldn’t want to abandon that essential quality of my linework - those sharp, angular folds.
Hui: Yes, that’s evident. This already has a very delicate, watercolour-like feel.
Liu: So, as I said earlier, I don’t use drafts. Without a draft, perhaps this particular piece will naturally develop a lighter quality. I might not paint this background as it is now, or use as many of those framing lines I used before.
Hui: Then I’m truly looking forward to it.
Installation view of “Explosante-Fixe”
From left: 24-11-23, 2023；22-3-25, 2025；15-8-24, 2024
Liu: Many of my compositions are relatively symmetrical or centrally focused. I might subconsciously create a sense of order - there is structure. And yet, as we discussed earlier, the surface is explosive, radial, and sharp. However, internally, there still lies energy and structure with a certain strength. This gives the inner core its fundamental stability.
Hui: Therefore, no matter how explosive, chaotic, or uncertain the external elements appear, your internal foundation remains steady. You persist, you are acutely aware of your own state, and that results in a composition that feels more disciplined and solid.
Liu: Yes, it remains stable. When I gaze at the painting for a long time, I notice that even though the lines are unrestrained, radiating and explosive, I can still perceive the core within.
On the Philosophy of Creation
Liu: You see, I paint so many of these black lines along the edges - these rather stout, dark lines can be interpreted in many ways. Though for me, the most immediate impact is visual. These thick black lines frame, or perhaps anchor, the flowers - they evoke a sense of confinement, but also of cohesion. I feel they’re connected to my psychology, my mindset, or how I perceive the outside world, my thoughts on the environment, and everything I encounter. In the end, it’s unclear what exactly these black lines are restraining or locking in; I just want to use these thick, black bars - or straps, if you will - to secure the subject I’m painting. Everyone might interpret it differently, but for me, it ultimately conveys something internal, something spiritual.
Installation view of “Explosante-Fixe”
From left: 17-9-23, 2023; Explosante-Fixe, 2025; 16-2-25, 2025
Hui: I notice that behind one of your thick black lines, there are many loose, seemingly chaotic brushstrokes, yet it still feels orderly and composed.
Liu: You’re quite right. Within a heavily layered, seemingly disordered background, a few bold, flattened lines break through the complexity. Through fixation, there is a sense of restraint, or in other words a sense of silencing, though I hope for everyone to have their own interpretations.
Hui: For example, that portrait - I’d like to discuss it a bit more. Earlier we were flipping through books of Schiele and Bacon. Looking back at your portrait, your lines, what you called the “rawness” or “bony structure”... Do you feel you’ve drawn elements from these masters, or did this style gradually emerge on its own as you painted?
Liu: That’s a fascinating question. I did my first sketchbook drawings of plants in a rather chaotic and loose style. At that time, I had hardly studied any artists - I wasn’t familiar with any, but when I drew them, the results might have already resembled those of two or three great masters. It wasn’t obvious, but it exists. This is completely normal and unbreakable - creating a connection between past and future.
People have said that my work somewhat resembles that of Bernard Buffet’s - but when they first said it, I hadn’t even heard of him. I knew nothing about him and had never seen his paintings.
Installation view of “Explosante-Fixe”
Liu Yangwen, 24-11-23, 2023, Oil on canvas, 160 × 120cm
I think the difference between us is significant. For example, when painting figures or flowers, he outlines most shapes with black lines. The key to his technique is using black outlines to delineate forms - like how comics are drawn. He uses black contour lines to depict objects and achieve his desired effect. My approach, however, involves continuously building up lines in various colors - tones of different values - slowly constructing a form out of a kind of ruins through line work. So superficially, at first glance, our works might seem similar to the average viewer, but the methods we use to construct the image are fundamentally different.
Hui: Yes, they are different. I just wanted to hear you elaborate on that.
Liu: No work just simply springs from a rock, wholly self-created and self-invented. You are inevitably connected to your predecessors, to the past masters. Art history is a process that’s continuously flowing and breaking through itself. I don’t think “resemblance” is a problem at all. In this day and age, achieving even a slight difference is already immensely difficult, and that’s what makes art interesting - it never truly dies.
Hui: What are your expectations for this upcoming exhibition in London? Presenting your work in the London market through a full solo show is a significant step. As you continue creating now, do you have a particular effect you hope to achieve there? Or a specific kind of growth you aim for? Do you have an envisioned goal?
Liu: I’m very looking forward to my new solo exhibition in London. The surrounding community is quite contemporary, and there will likely be many younger viewers as well as collectors. I’m curious to see how my work is received and accepted in this context. At this stage, I still have to continue to develop and improve myself in terms of my creations, and to enjoy life, because inevitably, art imitates life.
