Birth Date： 1964
Birth Place： Beijing
Education： In 1984 he graduated from School of Arts & Crafts, Beijing. From 1986 to 1989, he studied at the Central Academy of Fine Arts, Beijing. In 1994 he graduated from Hochschule der Kunst Berlin
Work place： Professional Artists

Solo Exhibitions：
“Liu Ye”, 2005, Tomio Koyama, Tokyo
“Temptations”, 2006, Sperone Westwater, New York
“Infatuation”, 2007, Johnen+Schoettle, Cologne, Germany
“Liu Ye”,2007,  Kunstmuseum Bern, Switzerland
“Leave Me in the Dark”, 2009,  Sperone Westwater, New York

Group Exhibitions：
“New Anecdotes of Social Talk”, 1995, Art Gallery of International Palace, Beijing
“Mondrian in China”, 1998,  Art Gallery of International Palace, Beijing
“Fiction. Love—Ultra New Vision in Contemporary Art”, 2004, Museum of Contemporary, Taipei
“Mahjong: Contemporary Chinese Art from the Sigg Collection”, 2005, Kunst Museum Bern, Switzerland
“7th Shanghai Biennale”, 2008, Shanghai Art Museum, Shanghai

 

　　Painting is about painting. It is independent.

　　The fewer functions it carries, the closer it is to purity, which is the ultimate objective of painting.

 　　Most paintings start with a white planar space, which is pure. The painter imbues it with feelings and spirituality in a unique way.

　　 Passion is unreliable. The painter needs to meditate and reflect. Or we can say it is an enduring passion that lasts decades. I always envy scientists for the poise characteristic of their work.

　　Accident takes place in a rational modus operandi. Painting is an art form, yet most paintings are not art due to their dependence. All other functions will damage the purity of painting, which should remain useless. Painting has to be a simple mental game. It is abstract by nature.

　　Painting is closer to music, architecture and maths than to literature. Attempts to critique painting in a way characteristic of literary criticism would damage the purity and independence of painting. Painting should not emulate Shakespeare, but Bach.

　　The structure of a painting matters more than its figure. The former is true and the latter false.

　　Colours are emotional while sketches are rational. Colours should be combined with sketches in order to endow reason with passion. Conversely passion is rational.

　　 Painting has a feel of its own. The feel of the object depicted is immaterial. 

　　 There are universal truths about painting. Regardless of time and age, metaphysics is the highest form of painting.

　　 Among the multitude of art forms, painting is the most ancient and yet most humble one. Only through getting well-acquainted with art history can an artist break free of its shackles. Only by becoming an expert on art history can one really appreciate paintings. Of course intuition matters, too.

　　All painters are actually classicists.

　　The artist is constantly changing his outlook on art during art activities. Such changes come from both inside and outside.

    Even when artists agree on something the results they achieve are different.

    The way we look at masterpieces from the Classical era is already different from the way they were viewed in their own time.The concept of painting has been liberated and painting has been granted an independent identity.Perspective is the least valuable invention in painting. It only helps the painter in his creation of illusion.

    Themes are but excuses that a painter uses to disguise his intentions. How a painter goes about painting determines what he paints.