Xiaoqiao Li



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2018
The dust of shadow
6 / 7 / 8 / 9 / 10 
11  / 12 / 13 / video
Squeesing landscape
1 / 2 / 3 

2017
Journey
1 / 2 / 3 / 4 / 5
6 / 7 / 8 / 9 / 10
Vewing
1 / 2
The dust of shadow
1 / 2 / 3 / 4 / 5
6 /7 / 8 / 9
Public Art Project
Mens’ Map 2017
1 / 2 / 3 / 4

2016

A walk around London
1 / 2 / video / video2
I am seeking -
   something somewhere
-Artist statement
1 / 2 / 3 / 4 / 5
video1 / video2 / video3
Wandering
-Artist statement
1 / 2 / 3 / 4 / 5
6 / 7 / 8 /9
Yearn and Recall
1 / video
Aimless
1 / video1 / video2
Memory

2015

Sense
1 / 2 / 3 / 4 / 5
A walk around London
A walk around London2
Seeking
Liminal
Liminal

2014

The texture of -
   Westminster Abbey

Lost
Untitle
Untitle

2013

Where I live the city

2011

1987.Born

2010

莲城旧事
瓶子的故事.延伸

Other works

Drawing
Product design
Product Design2


I am seeking something somewhere 

2016 



Artists statement
我最近的创作实践是通過跨媒介例如:繪畫,版畫,攝影,移動影像和投影,声音等去探討物理性勞作的過程和表層,空間以及記憶的方法論。我特别感兴趣的是在图像中创造“视觉噪声”,作为一种装置去实现某些特定的意义,例如:黑暗,模糊,暧昧,忧郁的感知和复杂的风景。

我想让观众重新审视我曾经居住和学习的城市伦敦。我做图像的方式是复杂的,分层和使用“视觉噪声”,以扰乱图像的阅读。例如,我使用手工绘制记录人们如何移动和拍摄城市作为文档记录的方式。当我收集图像时,我打印它们,然后使用各种方法来破坏被打印图像的表面,如酸或燃烧等。之后,我重新拍摄他们,把图像放入计算机,在Photoshop上工作,然后再打印出来。通过这些重新制作和重新制作过程,我获得一些真正自然的噪音效果,类似于蚀刻aquatint效果。

当我达到所需的噪音效果,然后使用喷墨打印机将图像打印到非数码打印纸上。然后我再使用颜料用凹版版画的方式印制,以便为已经复杂的图像添加一个有趣的表面。我的创作过程关注劳作行为的转印。

除了版画制作过程,我使用移动图像和声音添加到图像的经体验作为忧郁和暧昧,以创建一个多元的体验,观众可以更好地感觉到一种忧郁的感觉。
无论制作图像的方式,版画的物理创作过程或创建移动图像的方式,所有这些过程的目的是探索版画制作的多层物理性本质和移动图像的复杂多场景体验之间的关系,以及如何新技术与传统的版画技术相结合,唤起一种忧郁的艺术体验
My current practice explores the physical process and methodology of surface, space and memory through the crossing of medias: drawing, printmaking, photography, moving image and projection. I am particularly interested in creating a ‘visual noise’ in images, as a device to attain certain types of meaning such as: darkness, ambiguity, melancholy in perceptually and complicated landscapes.

I want the viewer to regard the city of London where I am living and studying. The way I make the images are complex, layering and using ‘visual noise’ to disrupt the reading of the image. For example, I use drawing by hand to record how people move and photograph the city as a documentation. When I collect the images I print them then use a variety of methods to destroy the printed image’s surface, such as acid or burning them. After that I re-photograph them and put the images into computer and work into them on Photoshop, then print out again. Through these re-making and re-making process I gain some really natural noise effects, similar to the etching aquatint effect.

When I have achieved the desired noise effect, I then use the inkjet printer to print the image onto non digital paper. I then intaglio print on top using pigment in order to add an interesting surface to the already complex image. My process is concerned with the act of transformation.

Alongside the printmaking processes, I make moving images and sound to add to the experience of the images as melancholic and ambiguous, in order to create a multiple experience where the audience could much better perceive a feeling of melancholy.

Whatever the way to make images, printmaking’s physical process or the way to create moving image, all of these process aim to explore the relationship between printmaking’s physical essence of multi-layering and moving image’s complex multi-scene experience, and question how new technology could integrate with traditional printmaking technique to evoke a melancholic artistic experience.






















Li Xiaoqiao / -2018       Facebook/Instagram