True artistry is often defined by technical skill, creative vision, and the ability to authentically, and effectively connect with one’s audience. Even better, if you are able to prompt new creative pathways for the viewer to traverse. In artist Lifeng Liao’s personal practice, it doesn’t take long to see the ways in which she builds these universes across mediums, blending concepts and mediums that are defined atop physical silken materials. Her work spans many topic areas, commonly landing on nature’s influence. She draws much inspiration from notions of decay, wet earth, spindly, spiky insects, flowers, and foliage. Not only this, but she is also very directly influenced by theatre, film, and the many extenuating tendrils of fantastical worlds and their many creatures.
Growing up, she derived excitement from fable and myth, as well as animation across film and video games. These digital landscapes influence and shape the worlds she builds in her current practice. There is a distinct difference between painting a beautiful image, and building a world that the viewer feels as if they are able to step inside of. Liao is focused on, and committed to world-building. These temporary universes are fragmented, containing many pieces to the same narrative puzzle.
When working with physical materials, Liao tends to lean toward the softer, natural proclivities of silk and other delicate textiles. She notes that her specific adoration of silk and its particular qualities may originate from childhood, and the influence of being raised by her silk-clad grandmother. Despite its visual impact, the material speaks further to the various ways that Liao has come to grow and move through the world, therefore impacting her art practise down the line.
Viewing Liao’s work for the first time is a truly layered experience, which makes sense considering her varied background. With experience in textiles, costume, and theatre, her art practice takes on a unique edge. She attained her first BA degree from Wimbledon College of Arts, which was followed by a MA in Textiles at the Royal College of Art. Staying true to the background she’s expanded her practise in, Liao works concurrently on her personal practice whilst also working as a wardrobe professional at the Royal Ballet and Opera. The blending of these worlds comes alive in her artwork, which clearly depicts various mythological influences, natural landscapes, and historic motifs that enrapture the viewer.
Dancing between an air of whimsy and play, the artworks also depict an intentional through line. Imagery is distinct and direct. Though, Liao is not one to stay within her comfort zone. Instead she has crafted various collections and bodies of work that strategically and intentionally push her away from any sense of stagnancy. Her work Imperfectionism (2024) is a direct result of this effort. Instead of seeking a perfectly pruned body of work, with this piece she allowed the imperfections to lead the way. She used these moments of lost control as a starting point for something new, grander, and more meaningful than what was initially envisioned. This process of relinquishing control became therapeutic and comforting.
Liao not only creates her own unique worlds, encased by silken materials and fabrics, she also uses her distinct visual style and language to respond to other bodies of work. In particular her response to Salomé (2024) by Oscar Wilde was an evocative collection of photographed images. This work was crafted in collaboration with Photographer, Michel Mendieta Mean, and Model, Miriam Elsharkawy. Liao not only took on the role as Creative Director, but she was also Designer, and Model in this specific response. Her work is not merely a separate experience, rather it is imbued with her essence. So much that she has previously become part of the response to the subject material itself.
While you can certainly keep up with Liao and her latest projects online, Liao also has an upcoming solo exhibition at 67 York Street Gallery from 16 to 18 August.
