Liu Qi was born in 1960 in Qiqihar, Heilongjiang Province. He is a member of Heilongjiang Artists Association and a director of Qiqihar Artists Association. Graduated from Qiqihar Higher Normal College, studied at the China Academy of Arts, the Graduate School of the Chinese Academy of Painting Creation, and studied under Guo Yiqun, Huo Chunyang, Gao Huimin, Li Kuizheng, Liu Wanming and other famous artists. Liu Qi is a representative painter in this area and a painter who is very active in the contemporary painting world. In this way, Liu Qi is a Chinese painter living in our black land.
Calm lyricism
From a technical point of view, Liu Qi's paintings are mainly based on the creation of Gongbi, which represents the maturity and height of his creation, and also forms a part of his own style. But looking at his works, he works part-time, writes purely freehand, and even absorbs the elements of Western painting. In the face of such a colorful and brilliant world of colors, he used the continuity and unity of themes, thoughts and emotions to maintain the integrity of the work and the consistency of the painting style.
Liu Qi's paintings are a process of refining beauty. With the line shape, the deep color application, and the almost extreme sense of form, his works are almost suffocatingly perfect. The composition with a strong decorative style allows the painter not to shy away from the vivid mobilization of external forms and techniques. But the painter is somewhat controlled, and the boundaries of the big coincidence still maintain the penetration of inner feelings. It is a kind of calm lyricism, a profound expression, a "performance" hidden behind "reproduction", a "freehand" that is covered by "realism", and a depiction of the natural nature of the scenery to portray the painter's zen understanding of the love of life and the cycle of life.
Liu Qi's painting is Shi Gu's fickle "I look, I say". Any art category always relies on inheritance, but if any inheritance only stays at the level of "similarity" of mud and ancients, it is only the level of "craftsman". The so-called work pen, the so-called skill, but it is all a means. "Moving" after "good looking" is the ultimate purpose of painting creation. Liu Qi not only completed the integration of traditional to modern painting language, but also achieved lofty, flat and far-reaching from the vision of form, inside and outside, and material self, from empathy, reconstruction, and transcendence, avoiding the slipperiness and sweetness brought by skill. The integrity of the work is not in professionalism, but in the "right" painting. Liu Qi's paintings are full of vast meteorological depictions and figurative depictions full of the love of life, all of which run through his consistent aesthetic consciousness and philosophical considerations. The realm of the painter's arrival at the perspective of me and Aoyama, which is not tired of looking at each other and how feminine, will inevitably be transformed into a classic aesthetic experience brought by the work for the viewer and the judge.
There is no doubt that the painter Liu Qi is still walking on the road of beauty, exploring the dimensions of man and nature, art and life. With the accumulation of the volume and quality of his works, there will be a place in the Chinese painting world that belongs to the painter Liu Qi.
(The author is Wang Aizhong, senior editor of the Municipal News and Media Center)