This uncertainty is a productive condition in image-making. At a moment when images can be endlessly reproduced and reality increasingly modeled through computational systems, Liu’s paintings insist on the significance of the material encounter. They do not resolve the distance between the world and our experience of it; they inhabit that distance.
Imagery is not static. Images are propelled by the inertia of our attention. They operate both as still objects and as events animated by the mechanisms of presentation. We continually move through a corridor of images to reach our own thoughts again, a passage of noise and static from which form is derived.
Images shape how we make meaning of our collective experiences, becoming symbols through which we interpret, remember, and reconstruct the world around us.