Liu’s works on paper extend from a blend of early Twentieth Century French references. They deploy a playful free-wandering quality of line that is as much borne from Matisse’s bold outlines and half-ﬁﾞguration as it is from André Masson’s “automatic drawing.” Liu entertains the notion that her early morning drawings resonate with her dream-life, just as Masson suggested that the unpremeditated line is also drawn from the Freudian unconscious mind. Her works toy with a dance of color against line, and are dotted with moments in which watercolor wash bleeding across the page is offset by cosmic forms executed in gouache. Moreover, she allows her chosen media to shape the character of her imagery, as if to comment on the physical properties of watercolor, in which a sensuous, aquatic sensibility prevails.
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