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Hung Liu "Fetching Water"

Gail Severn Gallery
Jul 27th – Aug 24th 2018
Ketchum, 400 First Avenue NorthMap
, 'Milk Can,' , Gail Severn Gallery

Hung Liu

Milk Can

Gail Severn Gallery

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, 'Companions I 1/3,' , Gail Severn Gallery

Hung Liu

Companions I 1/3

Gail Severn Gallery

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, 'Migrant Mother 1/3,' , Gail Severn Gallery

Hung Liu

Migrant Mother 1/3

Gail Severn Gallery

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, 'Companions II 2/3,' , Gail Severn Gallery

Hung Liu

Companions II 2/3

Gail Severn Gallery

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, 'White Angel Breadline 1/3,' , Gail Severn Gallery

Hung Liu

White Angel Breadline 1/3

Gail Severn Gallery

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, 'Behind the Ears,' , Gail Severn Gallery

Hung Liu

Behind the Ears

Gail Severn Gallery

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, 'Howard Family,' , Gail Severn Gallery

Hung Liu

Howard Family

Gail Severn Gallery

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, 'Clarence Weems (Gold) 1/9,' , Gail Severn Gallery

Hung Liu

Clarence Weems (Gold) 1/9

Gail Severn Gallery

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, 'Ironing 1/3,' , Gail Severn Gallery

Hung Liu

Ironing 1/3

Gail Severn Gallery

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, 'Camp Companions,' , Gail Severn Gallery

Hung Liu

Camp Companions

Gail Severn Gallery

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, 'Fetching Water I,' , Gail Severn Gallery

Hung Liu

Fetching Water I

Gail Severn Gallery

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, 'Lady Cotton (Gold) SI,' , Gail Severn Gallery

Hung Liu

Lady Cotton (Gold) SI

Gail Severn Gallery

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Press Release

Hung Liu is primarily known for paintings based on historical Chinese photographs. Given the epic, often tragic subject matter she represents, and the way her images sometimes dissolve in veils of linseed oil, her style is a kind of weeping realism. Liu’s newest paintings, however, are based upon the Dustbowl and Depression era photographs of American documentary photographer Dorothea Lange, whom she has long admired.

At first, the shift from Chinese to American subjects may surprise Liu’s audience. Having grown up in revolutionary China, however, she is familiar with landscapes of social struggle and displaced humanity.

In her paintings for the Gail Severn Gallery, Liu continues her interest in Lange’s Dustbowl subjects, focusing on individual portraits of children, their parents, and family groups. Suggesting the vast scale of their migration, Liu has also painstakingly painted an expansive scene of an Idaho landscape marked by burned tree stumps and abandoned mail boxes, as if bearing witness to the devastation of the 1930s in the American west.

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Hung Liu
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