Liu Chengrui

Born 1982

born 1983, Tibet / China

In 1999, I began to recognize that my soul is fragmentary and then I cut off my pinkie to bring balance into my life. This was the very beginning of my new perception of the body, though it was not art. I began to look for my pinkie in the name of art so that I could find in it much more extension than I had in the body part before I lost it. I started artistic practice relating to the body when I was in college. I volunteered in an elementary school on the grassland when I graduated and made the first step of my artwork ”decade” with 182 pupils before leaving. I wanted to know what would happen to them in ten years. I carried strands of their hair as I carried my pinkie bone on my neck. Promise and searching both are like a running river, but must slow down and stop somewhere one day. “Shoe mender’s workshop” is a work in which I sit in a small workshop to mend shoes for each customer and every day I bring a new fish to accompany me. I believe that the relationship between two humans or even between human beings and animals can be enriching for both sides. Actually, there is work in progress called “There is feather, too;” to see a feather in the prison is the heaviest poetry but also the lightest.
For me, my life is my art and the parts which can be shared with others are my works. My Tibetan blood, my childhood in the Buddhist surroundings under the snow-capped mountains, when I was influenced and edified by bitter nature, above all affected my views on life and my art.

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