Lü embraced the culture, by watching the local peasant women create memorable shapes and objects out of paper.
He turned the art gallery into a "temple filled with totem-like images", by using cutouts of footprints that were suspended in mid air, as well as silhouette patterns accompanied by illegible calligraphy.
Intrigued by unfamiliarity and longing, I followed it to retrieve original characteristics of humankind that have been filtered out by civilization, to summon images of lost souls in the polLüted air, to understand the spiritual pursuit of mankind in its infancy, and to search for the deep connection linking my native land with the rest of the world.
Thus suddenly I gain confidence, because in my mind I have paved a path for today’s art.” (Lü Shengzhong: Book of Humanity: Empty Book 2005) Within Lü Shengzhong's early career as an emerging artist, he has entered many solo and group exhibitions between the late 1980s and mid 1990s incLüding: "I use paper to cut this little red figure to demonstrate the delicate fragility of human beings.
This is a symbolization and universal society disregarded by virtuoso extended time, but Lü identify it and reproduces it, made it as a formal craftsmanship and considerable throughout giving the philosophical and customary nature.
"[2]Lü Shengzhong is a Chinese artist and he went to University at Albany on October, creating and installing a powerful new piece composed of red paper dolls.
The cutting of little red figures is ritual and performance in its pure sense, practiced for generations as a devotional act to bring fertility to the family and as a symbol of ancestral continuity.
The sublime is not ordinarily hung out with hilariousness or modesty, but the apprehension that the swarming red vigor is made out of amusing small folks, some with ponytails, some with the oversize head of an infant child, fetus or frog, carries a grin to one's confront.
Expansive, huge-headed children make islands around which masses of humbler figures swarm like schools of fish or sperm, raising momentums that convey the eye.
In the four boards from the piece The Poetry of Congruity, Shengzhong likens allegorical recombination with the inference of dialect, a letter set of structure.
He astutely makes mandalas from symmetrically put cut deciphers, and lays lines of shapes vertically or evenly beneath, made from snippets of broken set patterns.
From a separation these pieces give off an impression of being conventional calligraphy parchments, but it is clear Shengzhong has an impulse regarding comicality that is a bit subversive.
Subversive humor was a survival tactic that Shengzhong utilized in making suggestive subtexts covered up in the enchanting worker accounts of Adoration Tune, time honored compositions on silk.
Alternate early plans showed on the ground stun of the display have a non specific, stylized hand that, however useful, will usually draw vigor at a distance from the surface explanation made by the in statement.
Lü feels what's so significant to this is the fact one cannot us positive or negative forms alone, but for them to be used together, as in a single piece of paper that creates a conceptual whole.
When Lü creates a piece, and attaches the paper cuts to aboard, he compares his work to a painting and a sculpture, he then begins to contest the relationship between the two art forms.
What makes Lü Shengzhong, and the peasant woman so significant, is the fact that when they create a piece, they are expressing as well as releasing themselves with abstract visual forms.