Drawing & Painting
Dust
Tianyu Qiu Studio
Material: Dust, Charcoal Dust, Foil, Gesso, Resin on Panel
12'x4'
2015
Tianyu Qiu Studio
Material: Dust, Charcoal Dust, Foil, Gesso, Resin on Paper and Wood Panels
4'x4'
2015
Three Days
Tianyu Qiu Studio
Material: Dust on Paper, Performance
16'x4'
Duration: 3 days
2015
I spent three days in my studio, and did all my works and cleaning on a sheet of 16'x4' paper, which the foot prints and traces that I left on there meant to be the remanence of my activities and my existence. Drawing refers to its historical meaning as a way of study for painting and illustrations for storytelling. The remanence of the performance and narration is held by the paper, and existed as a form of drawing.
Day Painting
Tianyu Qiu Studio
Material: Watercolor on Paper, Performance
26"x20"
2015
Unexpected--Painting A Day, 2015-2016
Embracing limitation is also a form of releasing repression, due to the loss of hearing on my right ear, it inspired me to make a body of paintings called UNEXPECTED. I make one painting each day, record the process, and upload online, which is influenced by On Kawara’s DATE PAINTINGS. I force myself to lose the sense of sight with black tape covering my eyes, each paintings is made by my hands to evoke the sense of touch with the surface and the paint. What I wanted to present was not a peculiar technique but a tangible idea to confront the feeling of losing my sense of hearing, relying on the sense of touch and smell to express my dynamism in a positive way, which are documented and presented in both physical and virtual spaces.
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Nov. 14, 2015
Nov. 12, 2015
Void
Tianyu Qiu Studio
Material: Acrylic, Gesso, Aluminum Foil on Canvas
2'x2'
2014
“Drawing is to leave marks on a two-dimension space,” said Richard Serra. To react that statement, I started a series of paintings called Void, I spent weeks to build the surface with aluminum, resin, and white gesso, then I applied black paint on the uneven surface with my hand, which paint becomes the subject matter that runs freely into the concave part without much control. On the controversial side to Richard Serra’s comment, the marks are also created by the influence of the surface, and it challenges the definition of drawing in modern art history.