Hybrid Horizons:
Exploring Material-Led Abstractions
in Landscape Art Practice
by
Kai Liu
BFA, Emily Carr University of Art + Design, 2022

A thesis support paper submitted in partial fulfillment
of the requirements for the degree of
Master of Fine Arts
Emily Carr University of Art + Design
2024

@Kai Liu,2024

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Table of Contents
Land Acknowledgment .............................................................................................................................. 4
Introduction................................................................................................................................................. 5
Positionality ................................................................................................................................................ 6
Purpose and Significance of the Research.............................................................................................. 7
Research Methodology .............................................................................................................................. 9
Aesthetics of Hybridity ............................................................................................................................ 10
Hybrid Art Method .................................................................................................................................... 11
Collagraph Printmaking as a Hybrid Art Form........................................................................................ 11
The Eleven Untitled Collagraph ............................................................................................................. 13
Another Way of "Editioning" – Reprint the Plates .................................................................................. 14
Hybridity in Painted Print Mixed Media .................................................................................................. 16
Near, So Far – The Process of Fusion................................................................................................... 18
Inspiration from Bay Area Figuration...................................................................................................... 24
Hybrid Art Tradition.................................................................................................................................. 25
Another Way of "Editioning" – The Ghost Prints .................................................................................... 26
Abstract Concepts in Chinese Painting .................................................................................................. 27
Artistic Influence from Zao Wou-Ki......................................................................................................... 30
Neither Mountains nor Water ................................................................................................................. 32
Three Ways to See the World .................................................................................................................. 37
Post-Defence and Thesis Exhibition Reflection .................................................................................... 39
Conclusion ................................................................................................................................................ 43
Bibliography.............................................................................................................................................. 45

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List of Images
Fig. 1 Neither Mountains nor Water No.1 and 2. 2024 ................................................................................. 5
Fig. 2 The Eleven Untitled Collagraph Prints. 2023.................................................................................... 11
Fig. 3 Gathering Collagraph Plates ............................................................................................................ 14
Fig. 4 Printing on Xuan paper ..................................................................................................................... 16
Fig. 5 Segers, Hercules. Ruined Tomb. c. 1589-c.1636. Etching printed in black, overlaid with blue oil
paint, 12.8 x 19.5 cm. ......................................................................................................................... 17
Fig. 6 Working detail of Near, So Far ......................................................................................................... 18
Fig. 7 Working detail of Near, So Far ......................................................................................................... 19
Fig. 8 Working detail of Near, So Far ......................................................................................................... 20
Fig. 9 Near, So Far series in the State of Practice Exhibition..................................................................... 21
Fig. 10 Near, So Far No.1. 2023 ................................................................................................................ 22
Fig. 11 Near, So Far No.2. 2023 ................................................................................................................ 23
Fig. 12 Diebenkorn, Richard. Ocean Park #60. 1973 ................................................................................. 24
Fig. 13 Ghost print process ........................................................................................................................ 26
Fig. 14 Ghost print detail ............................................................................................................................ 26
Fig. 15 Wou-Ki, Zhao. Abstraction, oil on canvas.1958.............................................................................. 31
Fig. 16 Neither Mountains nor Water, Working Process. ........................................................................... 32
Fig. 17 Neither Mountains nor Water. 2024............................................................................................... 35
Fig. 18 A Long Long Time Alone, 2024 ...................................................................................................... 39
Fig. 19 The Northern Mountains, 2024 ....................................................................................................... 40
Fig. 20 A Long Long Time Alone and The Northern Mountains installation view, 2024 ............................. 42

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Land Acknowledgment
My artistic practice unfolds on the unceded, traditional, and ancestral territories of
the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh Úxwumixw (Squamish), and səl̓ilw̓ətaʔɬ
(Tsleil-Waututh) peoples. This acknowledgment reflects a profound respect for the land
and its original caretakers, guiding my exploration of the landscape as both a subject
and a source of inspiration.

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Introduction

Fig. 1 Neither Mountains nor Water No.1 and 2. 2024

In this thesis project, the concept of hybridity is explored by merging distinct
artistic disciplines, resulting in two series of artworks. The aim is to integrate collagraph
printmaking with painting techniques, thereby creating a novel approach that challenges
the boundaries between different mediums. The artistic methodology is significantly
influenced by traditional Chinese painting ideology, providing a unique vision of the
fusion of Eastern and Western artmaking perspectives. Through the combination of
different artistic processes, a dialogue is fostered between traditional and avant-garde
choices. The artworks reflect my comprehension of various ways landscape can be
understood across different cultures and traditions. I am aware there are different
worldviews expressed through the Chinese painting traditions, Western art, and

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Indigenous relations to the land. My artworks in this study do not directly depict specific
landscapes; they are primarily material-led and observation-driven abstractions. This
thesis support paper presents a journey through the process of art hybridization,
supported by theoretical aspects and detailed case studies of the artworks, and
explores the rediscovery of printmaking and painting methods as a combination,
transforming them into a versatile medium that captures fluidity and expressiveness.
This project showcases the contemplation and inner thought activities that were part of
the hybridization development process, forming a personal artistic language. The
exploration has resulted in the emergence of a hybrid art form that challenges
perceptions and broadens the understanding of art's potential at the intersection of
diverse realms, transcending conventional categorizations.

Positionality
Growing up in China, a country with a rich artistic history, I embarked on my
journey, creating both impressionist paintings and experiencing my first encounter with
traditional Chinese painting principles1. This exposure became the foundation for my
unfolding aesthetic sensibility. Moving to Canada was a significant turning point,
expanding my creative horizons and introducing me to new avenues, particularly intaglio

1

The transitional Chinese painting principles, established during the Three Kingdoms (220-280) and Six Dynasties
periods (220-589), reflected the era's political instability and the rising influence of Buddhism and Taoism. This
period encouraged a shift from philosophical to metaphysical art, focusing on capturing the essence of subjects
beyond their physical forms. Artists like Gu Kaizhi and Zong Bing emphasized expressing inner feelings and
spiritual energy, prioritizing the expression of Dao through landscape painting. This marked a significant departure
from traditional realism, leading to a legacy that values the spiritual and philosophical over the literal, influencing
Chinese art for centuries (Daniela).

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and relief printmaking. As an artist who navigates the technical world of printmaking and
painting, as well as the dynamic visual language of Chinese painting and semi-abstract
landscape art, my role is that of an integrator. My artwork reflects this harmonious
integration, allowing me to inhabit a space where artistic methods, customs, and styles
intersect, giving rise to fresh expressions. As I position myself as a painter, printmaker
and technique-heavy art practitioner, this thesis support paper represents the research
of the concept of hybridity in artistic processes and cultures through the State of
Practice interim project, Near, So Far series and the final thesis project, Neither
Mountains nor Water series.

Purpose and Significance of the Research
This investigation centres on fundamental inquiries, such as hybrid techniques
and artistic traditions, both Chinese and Western, that challenge and broaden the limits
of artistic conventions. Several questions come to the fore, such as: What might be
revealed in the fusion of printmaking and painting techniques? What distinct qualities
does abstraction bring to figurative image-making? How does the act and mindset of
contemplation influence and redefine my art practice? These inquiries are crucial not
only to the field of art but also to the convergence of cultural and artistic traditions within
my own artistic journey. Contemporary art is experiencing a transformative phase where
artists are merging languages, embracing hybrid methods, and engaging in crossdisciplinary dialogues to address the complexities of our era. This trend is fostering a

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rich and innovative artistic landscape that reflects the multifaceted nature of the current
period.
My research and artwork also engage with the current environmental discourse
through several deliberate choices in my artmaking process and thematic focus. Firstly,
by employing collagraph printmaking, I embrace sustainability by reusing materials. This
method exemplifies my commitment to eco-friendly practices and serves as a metaphor
for regeneration and resilience in nature. Secondly, my art celebrates and respects the
beauty and sanctity of traditional Indigenous lands, drawing inspiration from the land I
live in at present. This focus underscores an appreciation for environments that have
sustained cultural and ecological richness for generations. Lastly, I deliberately remove
artificial elements from my images to encourage attention to the natural environment
against the bustle of modern life. By doing so, I aim to convey the importance of
reconnecting with and preserving the natural world. I am especially alert to the concerns
of being a guest on Indigenous land. These aspects of my practice reflect my
introspection about contemporary environmental issues and the respectful
acknowledgment of land that has long been overlooked in industrial and political
narratives.

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Research Methodology
The methodology employed in this thesis project combines practical artmaking
with an analytical approach. It involves a hands-on exploration of mixed-media
techniques with a focus on creating and analyzing two bodies of work: Near, So Far and
Neither Mountains nor Water. These pieces serve as case studies examining the fusion
of artistic styles and philosophies. The research also entails ideas of historical and
contemporary art forms, drawing upon the Six Principles of traditional Chinese painting
that I explain later in this paper. This approach allows for the understanding of the
artistic process and the exploration of hybridization through landscape themes and
abstraction. For me, it is important to bridge the gap between the theoretical discussions
and the tangible aspect of artmaking. Throughout this exploration, the fusion of
collagraph printmaking with painting and the integration of Chinese ink art with
abstraction are not just conceptual ideas; they manifest collectively in each printed,
painted or collaged artwork. The texture and layers from printmaking, combined with the
fluidity of painting, introduce physical depth and movement. This, alongside the
philosophical depth and historical resonance of Chinese ink art and the personal,
evolving perspectives offered by abstract approaches, culminate in artworks that are a
dialogue between tradition and contemporary. These elements coalesce to form a
narrative that is both a reflection of artistic heritage and a personal expression.

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Aesthetics of Hybridity
During the past few years, I learned the word hybrid, such as the hybrid car that
uses gasoline and electrical power and the hybrid class that combines in-person
classes and online meetings during the pandemic. Hybridizing things together is a
compromise but also an innovation. Homi Kharshedji Bhabha, an Indian scholar and
critical theorist, introduced "the concept of hybridity" in his book The Location of Culture
in 1994, focusing on the interdependence of colonizer and colonized relations and the
mutual construction of their subjectivities. He describes this concept as the "Third Space
of enunciation," where cultural identity emerges in a contradictory and ambivalent
manner (Bhabha).
The Third Space refers to a space where individuals from different cultural
backgrounds can interact and negotiate for mutual understanding. According to Bhabha,
cultures cannot be viewed as binary oppositions between Self and Other; Instead, the
Third Space is characterized by the absence of cultural purity or originality, meaning
that any meaning must be arrived at through a process of translation and negotiation to
gain consensus. In my opinion, art forms today no longer have clear lines between
purity and originality. Interaction and mutual understanding between forms are more
common and necessary.
In philosopher Jerrold Levinson's article, "Hybrid Art Forms," he categorizes
hybrid art forms as those that emerge from a combination of different artistic activities or
media. He identifies three types of hybrid art forms: juxtapositional, which places
different art forms side by side; synthetic or fusion, which merges them into a new form;

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and transformational, which involves the conversion of one art form into another
(Levinson). In the following sections, I will elaborate on the emergence of the concepts
of hybridity within my work.

Hybrid Art Method

Collagraph Printmaking as a Hybrid Art Form

Fig. 2 The Eleven Untitled Collagraph Prints. 2023

The experimental printmaking project I did during my first year of MFA study is
called The Eleven Untitled Collagraph Prints (refer to Fig. 2), and this collagraph prints
on Xuan paper concept inspired my later projects. In this series, I utilized printing plates,
also known as matrices, which played a fundamental role in the initial stages of my

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thesis project. Collagraph printmaking involves the innovative use of various materials,
according to "Collagraph Printmaking" by Donald Stoltenberg and Ralph MacKenzie.
The printing plate materials can include fabric, paper, acrylic paint, paste and media,
thread, wire, hardboard, metal, wood, plastic, water, coins, keys, leaves, and found
objects2. The use of the term "collagraph" to define this highly experimental printmaking
process is fairly recent. Its acceptance as a form of printmaking in its own right has
been attributed to the abundance of work produced in the 1950s by the artist Glen Alps,
a printmaking professor from the University of Washington, Seattle. The word itself is
descriptive of the process in that it is derived from the Greek verb kollo, meaning 'to
glue,' which perhaps explains the common misspelling, "collograph" (Hartill 7).
The unique aspect of collagraph printmaking lies in the diversity of materials for
the printing plates, which is distinct from the singular material used in copper etching
and wood engraving printmaking techniques. The list of materials in collagraph
printmaking is virtually limitless, which sets it apart from other printmaking methods. The
process involves a tactile examination of the plate's surface to predict printing outcomes
and textural manipulation is central to this process. Each material's roughness
contributes distinct characteristics to the plates, resulting in a diverse tonal range and
textures that offer a strongly haptic quality to the artwork.

2 Found object in art refers to using everyday items not initially intended as art materials within artistic

works. This practice, integral to Dadaism and popularized by Marcel Duchamp's "readymades" in the
early 20th century, challenges traditional art definitions by recontextualizing mundane objects. It plays a
significant role in questioning the nature of art and the artist's role, influencing various art movements and
contemporary artistic experimentation.

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The Eleven Untitled Collagraph
The project The Eleven Untitled Collagraph Prints (Fig. 2) was a starting point in
this research. This unfinalized formal printmaking exercise focused on gathering
materials to make the plates, such as cardboard, fabrics, plastic sheets, acrylic
mediums, and carborundum. Enhancing the plates involved laminating paper and
fabrics for varied textures, adding carborundum and acrylic medium mixtures for dark
tones, and incorporating dry point etching techniques for lines. Everything on the plate
was glued and sealed with acrylic medium for durability.
The choice of printing paper was also crucial. I chose Xuan paper, a type of
traditional Chinese paper made of rice straw, which I have been familiar with since my
early days of learning Chinese painting. Its soft and slightly stretchy nature, along with
its self-flattening ability once moisturized, made it ideal for this project. The universal
subject in these prints that I started out in mind was the elements of mountains and
nature as I observed creases, faults, deposits, corrosion, and other natural phenomena
and mountain formations. Drawing from my experience in printmaking, I have
discovered that the technique of folding and stacking collagraph plate materials can
generate textures that are reminiscent of these natural phenomena. These elements are
represented through various arrangements and combinations of matrices, drawing upon
a composition study to create a series of semi-abstract prints. Through this

experimental project, I delved into the world of collagraph techniques and materials,
laying the groundwork for my subsequent work for the State of Prac@ce interim
exhibi@on as part of my MFA program. The technical proficiency I gained in collagraph

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printmaking at that @me was sufficient, promp@ng me to pursue the next step, a hybrid
approach that combined collagraph with pain@ng.

Another Way of "Editioning" – Reprint the Plates

Fig. 3 Gathering Collagraph Plates

In the printmaking tradition, the concept of the edition—crafting multiple
originals3—has been a cornerstone, yet The Eleven Untitled Collagraph Prints remained

3

In printmaking, "multiple originals" refer to the series of prints produced from a single matrix (such as a
plate, block, or screen) where each print is considered an authentic artwork by the artist. Despite being
part of an edition, where multiple copies exist, each print is seen as an original due to the hands-on
process involved in its creation and the artist's direct involvement in the production and approval of each
piece. This concept underscores each print's uniqueness and artistic value within the edition,
emphasizing that each is not a mere reproduction but an original work of art (Grover).

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an unfinished series; they are proofs awaiting continuation. I am a practitioner of the
arts who values the preservation of tradition. The printmaking plate holds great
significance for me. While I am open to innovative printing methods, I remain committed
to creating print plates. In response to an inquiry regarding monotype prints within my
artwork, I clarified that these were, in fact, printmaking elements produced with
authentic collagraph plates. I refrain from creating monotype prints, a unique type of
printmaking where a single impression of an image is made without a fixed plate that
has been inked or painted, resulting in a one-of-a-kind artwork, as I believe that the print
plate serves as the soul of the print. I was Intrigued by the prospect of revisiting these
printing plates. I considered the potential of their rich textures that evoke natural forms
like rocks, mountains, and landscapes (Fig. 3). This reflection sparked the decision to
extend the life of these plates through reprinting, not merely to complete the repetitive
editioning process but to redefine the notion of multiple originals.
Collagraph plates can be printed using the intaglio technique, a printmaking
method that involves incising the image into a surface. The sunken area or incised line
of the design retains the ink, which is then transferred onto printing paper to produce a
print that reflects the design of the printing plate. This method is particularly effective in
creating detailed designs on the printing plate. The correct moisture level in Xuan paper
is paramount and can be achieved by spraying a small amount of water and rolling the
paper together to keep it damp. The printing press transfers the image from the matrix
to the paper, and the pressure must be set correctly to balance ink adherence and avoid
smudging or excess (Fig. 4). Each step unfolds as a mindful contemplation, embedding

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the artwork with a depth of intention that bridges artistic skill with the reflective
engagement.

Fig. 4 Printing on Xuan paper

Hybridity in Painted Print Mixed Media
I discovered an unexpected and profound connection with the seventeenthcentury Dutch artist Hercules Segers, which only happened after I developed my own
process. A fellow artist who is studying print history at the University of British Columbia
introduced Segers to me, and I found many similarities between Segers’ process and
mine, such as innovative hybrid techniques, a visionary approach to landscape art, and
a fusion of traditional and unconventional practices. Discovering Segers' process
became a pivotal moment in my artistic development, a serendipitous encounter that
was more like an encouragement rather than inspiration.

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Seger's unique approach to painted prints demonstrates an example of
Levinson's "Hybrid Art Forms": "In synthesis or fusion, the objects or products of two (or
more) arts are brought together in such a way that the individual components to some
extent lose their original identities and are present in the hybrid in a form significantly
different from that assumed in the pure state" (Levinson 8). The individuality of certain
art forms should not be dismissed, as they have a fundamental role to play in certain
stages of development. In fact, hybridization is not an act of rebellion; rather, it is a
detachment and sublimation from the binary. Whether it is a print or a painting, the form
of art is irrelevant. The fusion of techniques and styles is not only acceptable but can
also lead to innovative and unique creations.

https://www.metmuseum.org/art/collection/search/699862

Fig. 5 Segers, Hercules. Ruined Tomb. c. 1589-c.1636. Etching
printed in black, overlaid with blue oil paint, 12.8 x 19.5 cm.

Professor Christopher P. Heuer, historian of early modern art, mentions the
Dutch art theorist Samuel van Hoogstraten, who writes that Seger invented a new form
of artistic creation called printed painting. The artwork Ruined Tomb (Fig. 5) is one of
Segers' examples of this process, which is an etching print in black ink and overlaid with
blue oil paint (Heuer 945). Similar to Segers' method, I used painting over prints in the

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Near, So Far series. However, rather than painting over the prints directly, I collaged
prints onto wood panels before painting over them. These collaged prints created
physical layers on the panel that became a method helping to finalize the compositions.
Using hybridization and innovative strategies, during the time when Segers was creating
his art, the distinction between printmaking and painting was not as significant as it
became later. However, Segers’ artistic style was not in line with the dominant artistic
trends of the Dutch Golden Age. While the paintings of this era were characterized by
delicate and luxurious details and followed certain fixed formats, Segers’ works stood
out for their simplicity in colour, slightly flat composition, and influence of Eastern art
styles. This raises questions about how Segers managed to push the boundaries of
traditional art and thrive despite being different from his contemporaries.

Near, So Far – The Process of Fusion

Fig. 6 Working detail of Near, So Far

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Fig. 7 Working detail of Near, So Far

Once I had gathered all the necessary printed elements, the composition and
planning came into play. I trimmed the prints meticulously and pinned them on the panel
temporarily (Fig.6). Then, I played with the arrangement of the printed fragments to
achieve balance and harmony, and this harmony is what I learned from Chinese
paintings, it is a beautiful experience that transforms from visual composition to spiritual
perception. (Fig.7). The process was dynamic, as each element's placement contributed
to the composition's overall effect. The printed texture and tonality gave the work an
illusion of depth. The collage offered a platform to experiment with juxtaposition and
abstraction, allowing me to bring life to the printed visual elements, giving them a fresh
context, the conversion from collagraph fragments to the portraits of nature. I then
introduced water-based black pigment to the artwork to blur the boundary between print
and painting and create a hybrid complexity. In this step, I applied water-based acrylic

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ink across the collaged prints and blank spaces, harmonizing the composition with
gestural brushwork. In addition, the water-bleeding feature of Xuan paper gives the
artwork a sense of wetness, and these wet gestural brushstrokes contrast with the dry
etching ink, capturing the uniqueness of the hybridity of merging printed and painted
visual elements (Fig.8).

Fig. 8 Working detail of Near, So Far

Reflecting on my resonance with Hercules Segers' printed paintings, I found a
transition point to delve into the philosophical underpinnings of my art, leading to the
awareness of the aesthetics of hybridity. This philosophy extends beyond mere material
blending, combining contrasting elements: traditional and contemporary, East and West,
tangible and abstract. It is a process that guides the combination of distinct existences
to make them work as oneness. This oneness does not mean letting either party lose its
identity or individual difference but collaborating their strengths. This series of mixed-

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media works was a visual exploration of the order and disorder found in nature, as
interpreted through the lens of mixed-media. In creating this piece, I aimed to delve into
the relationship between closeness and the expanse that defines both the physical
landscapes and the introspective spaces of the mind. The artwork combined the precise
detail of collagraph printmaking with the expressive potential of painting, revealing the
contrast between the two techniques. This contrast speaks to diversity, and the fusion of
different process can collide into new forms, which became unique.

Fig. 9 Near, So Far series in the State of Practice Exhibition

Near, So Far No.1(Fig.10) presents a series of mountain-like forms, fragmented
to suggest how landscapes can feel both intimately known and yet distant, almost
unreachable. The strong contrast between the dark shapes and the lighter background
contributes to a sense of depth, drawing on the Chinese painting concept of 'Xie Yi,' or
‘capturing the spirit’, rather than a direct representation. The intent is not to replicate the
landscape but to convey an impression, an emotional resonance that echoes the

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vastness and mystery of nature. The semi-abstract style balances the identifiable
elements of mountains and the mystery, where form becomes a vehicle for
contemplation. This style is informed by the Chinese artistic principle of seeking
harmony in art, where every brushstroke and line aims to align with natural laws4.

Fig. 10 Near, So Far No.1. 2023

4

In Chinese art, the term ‘natural laws’ refers to the fundamental order and patterns that govern the natural world
and the universe. This concept is deeply rooted in Chinese philosophy, particularly in Daoism and Confucianism,
which emphasize living in harmony with the Way (Dao) and the natural, ethical, and cosmic order it represents. In
art, ‘natural laws’ are expressed through principles that aim to capture the essence, energy (Qi), and rhythm of
nature rather than simply its outward appearance.

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Fig. 11 Near, So Far No.2. 2023

In Near, So Far No.2 (Fig.11), the focus shifts to the sea's fluidity, the islands'
solidity, and the ethereal nature of the sky and clouds. The contrasts are more
pronounced, with the piece's lower section evoking the sea's dark and undulating
rhythms of the land. Above, the lighter areas suggest the sky's openness, the clouds'
transience, and the air's elusive quality. It is a visual representation of the various states
of water, its forms, and its interactions with other natural elements. Using collagraph
printmaking techniques adds depth and texture to the artwork, inviting a tactile

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perception and interplaying the relationship between what is shown and what will
appear in the imagination.

Inspiration from Bay Area Figuration

https://diebenkorn.org/objects/479/

Fig. 12 Diebenkorn, Richard. Ocean Park #60. 1973

The Bay Area Figurative Movement represents a pivotal moment in 20th-century
art, marking a departure from abstract expressionism towards a unique blend of
abstraction and figuration. Central to this movement was Richard Diebenkorn, whose
innovative methods exemplified the hybrid nature of this art form. Diebenkorn's work
navigates between the abstract and the representational, employing a method that
emphasizes the fluidity of these boundaries. His art, particularly evident in his Ocean
Park series (Fig.12), showcases a mastery of colour, form, and space, demonstrating a
deep engagement with the landscape while abstracting its elements to capture its
essence rather than its literal image. This approach underscores the movement's
broader exploration of the emotional and perceptual possibilities of paint, challenging
and expanding the viewer's engagement with art (Richard). Diebenkorn's methods,

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rooted in the Bay Area Figurative Movement, thus become a cornerstone for
understanding the potential of semi-abstract art to convey complex, hybridized visions
of reality. The Bay Area Figurative Movement rebelled against the idea of purely
abstract art by incorporating the human figure and landscapes with elements of abstract
expressionism. Diebenkorn's early and late abstract works hybridized styles and genres
(Richard), and his work has inspired my exploration of merging traditional Chinese
painting techniques with modern aesthetics, conveying emotional depth through colour
and form.

Hybrid Art Tradition
The Near, So Far series, a vibrant integration of collagraph printmaking and
painting, brought me to the next project, the Neither Mountains nor Water series. My
journey through Near, So Far has been one of artistic discovery and evolution, where
the fusion of mediums and the play between representational and abstraction of nature's
forms have tried to find the best balance to stay with each other seamlessly. Carrying
forward this momentum, Neither Mountains nor Water was an adventurous continuation
of this narrative, and the exploration of natural landscapes and internal reflections with
semi-abstract techniques settled in this new body of work simultaneously. The process
of this series was a dynamic movement of my artistic practice and research, enrolling
previous explorations into the next stage of a more intricate pattern.

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Another Way of "Editioning" – The Ghost Prints

Fig. 13 Ghost print process

Fig. 14 Ghost print detail

I was curious about how much ink left on the plate after pulled an impression of
the print, so I tested the plate’s residual ink with a fresh piece of Xuan paper. The image
appeared shallow but delicate, reminding me of ghost printing, a low-profile method with
no comparable temperament. The ghost print method in printmaking introduces an
element of unpredictability and serendipity. After a primary print is made, a ghost print
emerges from the residual ink left on the plate. It carries a lighter, often more ethereal
quality with a unique character of its own. Working with ghost prints is an exercise in
subtlety and learning to embrace the unexpected. As these prints are pressed onto
Xuan paper, renowned for its ability to absorb and mellow the ink, they take on a hazy,

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muted appearance that softly echoes the original design (Fig.13 & 14). This effect is
particularly pronounced on Xuan paper compared to the usual results on cotton or linen
etching paper. While the faint remnants of ink typically lead to a more subdued visual
effect, Xuan paper's softness allows it to capture a surprising amount of detail from the
plate, even in these lighter ghost prints.
I liken this approach to the "Schrodinger's Cat5" of editioning, where the outcome
remains a mystery until revealed—each ghost print existing in a state of potential, only
defined once it has been pulled from the press. This concept shifts the perspective on
editioning, traditionally associated with creating identical prints, to one that values each
print's individuality and nuanced differences. The ghost print, therefore, is not just a byproduct but a deliberate exploration of the beauty found in the remnants and echoes of
the initial artistic gesture.

Abstract Concepts in Chinese Painting
As I began working on the Neither Mountains nor Water series, I was thinking
about the abstract concepts in Chinese painting at the start of the MFA. It was really
with my last project that its principles directly informed my experiments. Observing the
ghost prints, the aesthetic parallels with Chinese landscape painting became apparent.
This similarity brought me back to my early years of learning Chinese painting, a time
when the seeds of these profound aesthetic ideas were planted. It was in the fall of the

5 Schrodinger's Cat is a thought experiment that illustrates a cat in a sealed box being simultaneously

alive and dead, according to quantum mechanics, until observed. It highlights the concept of
superposition and the impact of observation on quantum systems.

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second year of the MFA that I began to weave the principles of this ancient art form into
my creations. The article "论唐前中国古代艺术理论中抽象绘画的理论起源 Theoretical
Sources for Abstract Painting in the Ancient Chinese Art Theory before the Tang
Dynasty" by 唐艺梦 Daniela Zhang-Cziráková explores the origins of abstract painting in
ancient Chinese art theories predating the Tang dynasty. This piece, published in the
Journal of Sino-Western Communications, provides a comprehensive review of how
ancient Chinese art theories intersect with modern interpretations of abstraction.
Zhang-Czirakova carefully analyzes Xie He's "Six Principles of Chinese
Painting," highlighting their importance in the creation and development of abstract
painting in China. These principles not only guide the technical aspects of painting but
also emphasize the expression of inner spirit and emotional resonance.
The Six Principles:
•

Spirit Resonance (氣韻⽣動 Qi Yun Sheng Dong): The vitality or energy that
animates the painting, reflecting the artist's spirit.

•

Bone Method - (古法⽤筆 Gu Fa Yong Bi): Refers to the use of the brush,
suggesting structural strength in the brushwork.

•

Fidelity to the Object (應物象形 Ying Wu Xiang Xing): Accurate portrayal of
forms, ensuring a lifelike representation.

•

Conformity to Kind in Applying Colours (隨類賦彩 Sui Lei Fu Cai): Using colours
according to the nature of the subject matter.

•

Proper Arrangement (經營位置 Jing Ying Wei Zhi): The composition and layout
within the painting, placing elements in harmony.

•

Imitating (傳移模寫 Chuan Yi Mo Xie): Learning from past masters and
transferring their essence into new artworks.

Liu 29
Zhang-Czirakova suggests that these principles, particularly "Qi Yun Sheng
Dong," which means "spirit resonance, life-motion," were not simply regulations but
embodied deeper aesthetic and philosophical foundations of Chinese art. She also
draws a connection between the traditional concept of capturing the spirit "传神" and the
abstract movement's inclination towards evoking emotions rather than just
representation (Daniela). The article provides a comprehensive analysis by integrating
several ancient and current sources. These sources include classical Chinese paintings,
poetry, and calligraphy, as well as modern-day critiques and art analysis. The analysis
emphasizes how some abstract elements can still be applicable in modern-day practice.
According to the article, one can forget about the shape and capture an idea, which can
also be successfully applied to contemporary abstract paintings (Daniela 186). I
adopted this concept in my practice, becoming a method in my abstraction discovery.
In my journey of blending traditional Chinese painting with abstract art, I am
drawn to the philosophical underpinnings of such traditional concepts as ⼭⽔以形媚道
(shān shuǐ yǐ xíng mèi dào). This phrase emphasizes how the form of the landscape
serves as an evocative medium. It encapsulates the essence of how nature and its
representations can be a bridge to understanding spiritual truths. This resonates with
my semi-abstract approach, where the landscape is not just a depiction of the physical
world but also an exploration of philosophical and spiritual dimensions.

Liu 30
Artistic Influence from Zao Wou-Ki
Zao Wou-Ki is one of the artists who has been influential in my art practice. His
dynamic approach to abstraction complements these traditional principles, emphasizing
a seamless fusion of ancient artistry with modern innovation. Zao Wou-Ki, a Beijingborn artist who gained fame in Paris in the mid-20th century, is acclaimed for fusing
Chinese artistic traditions with Western modernism. Coming from a family that valued
traditional Chinese art, Zao's early paintings and prints were influenced by his heritage,
particularly his family's Han dynasty and Shang dynasty rubbings (Masters 134). Moving
to Paris in 1948, he encountered the modernist movements of the time, drawing
inspiration from European artists like Picasso and Matisse. This move led him to a path
where he sought to blend the philosophies of his Asian roots with Western art practices
(Goodman 30). In the 1950s, during what is known as his Oracle Bone period, Zao paid
homage to traditional Chinese calligraphy and painting, even as he ventured into
abstract painting. His paintings from this time reflect ancient China's intricate scripts and
symbolism, imbued with a calligraphic quality that grew more pronounced as he delved
deeper into his cultural identity (Masters 134).
Throughout his career, Zao navigated the delicate balance between his Chinese
origins and the French influences that shaped his artistic evolution. His paintings are a
testament to this balancing act, showcasing the fluid beauty of Chinese ink paintings
alongside the bold strokes of Western abstract expressionism. The resulting works defy
simple categorization, inviting viewers to find meaning in their complex interplay of form
and colour (Goodman 30).

Liu 31

https://www.mutualart.com/Artwork/ABSTRACTIO
N/645EC08C1EA0F37B

Fig. 15 Wou-Ki, Zhao. Abstraction, oil on canvas.1958

Abstraction 1958 (Fig.15) is an energetic artwork from Zao Wou-Ki's Oracle bone
period, blending Eastern and Western styles. Bold brushstrokes and a play of light and
shadow create enigmatic forms that recall the oracle bone script. The two red elements
in the painting resemble peonies that you might find in freehand Chinese artwork.
However, after the artist’s abstract expressionist treatment, they are no longer
immediately recognizable. The short black gestural strokes used in the painting are
similar to those used in calligraphy. Overall, it represents a dialogue between Zao’s
ancestral heritage and his explorations in abstract art. As I continue to explore crosscultural artistic methods, I feel a connection with Zao Wou-Ki, whose art inspires and
informs my artistic journey rooted in cultural traditions. I am interested in how to merge
traditional Chinese ink art with abstraction. As I am experiencing this, I incorporate
Chinese painting, calligraphy, splash-ink techniques, and the six principles of Chinese
painting as an homage to my heritage.

Liu 32
Neither Mountains nor Water

Fig. 16 Neither Mountains nor Water, Working Process.

The Neither Mountains nor Water series consists of four pieces that reflect an
immersion into contemplative abstraction. Through these mixed-media works, I aim to
capture not only the physical forms of the landscape but also the perception and the
fluidity of time. This series combines two distinct methods to create their colour scheme.

Liu 33
I used the printmaking technique called “à La Poupée6” to apply sepia and black etching
ink onto the plates. This creates a multi-colour effect on the prints. To collage these
printed elements, the back of them is thoroughly coated with an acrylic adhesive, which
dries rapidly, necessitating a swift attachment to the panel. Carefully lifting two corners,
one must be mindful of their fragility, as humidity could cause them to disintegrate at
any moment. The paper, influenced by physical inertia, gravity, and air resistance, is
gently guided close to the panel. The alignment is crucial; first, a part of the paper is
attached to the panel, followed by a gentle, sweeping motion from the center outward
with the hand, ensuring the paper adheres smoothly while avoiding air bubbles. This
process requires a balance of speed and caution, steadiness and adaptability to
unexpected suddenness. The focus is paramount - breath held, body in harmony, and
then release, immersed fully in the present moment.
After collaging the prints onto the panels, I used acrylic paints with an earthy
palette. This included tones of yellow, brown, and greenish hues. I also incorporated
calligraphic elements, which are a key feature of this project. These were crafted using
fluid black pigment. There was also a unique technique where some of the finer black
strokes were painted using a twig, allowing for an uncontrolled expression that lets the
material speak. This method of painting, although unconventional, provides an
opportunity for me to imbue the work with a sense of spontaneity and creativity. This

6à La Poupée, which means 'with the doll' in French, is a printmaking technique where different colors are

applied to a single plate with small fabric or leather balls, allowing multi-colored prints from one pass. This
method requires precise ink application and cleaning between colors to avoid mixing, making it suitable
for creating vibrant etchings and aquatints with depth.

Liu 34
multi-faceted approach in the series reflects a harmonious blend of printmaking and
painting, each element contributing to a rich, tactile experience.
In my exploration of abstract art through the Neither Mountains nor Water series,
I was particularly inspired by the theoretical underpinnings of ancient Chinese art, which
emphasize capturing inner similarities and the essence of subjects beyond their
physical forms. As noted in Daniela Zhang-Cziráková's research,
"Many Chinese art theorists who followed the theory of inner
spiritual similarities capture the state of mind, feelings, the artist's
emotions, and their retention in the painting... In these theories
mentioned here, there is a hidden possibility that it can completely
abandon the outer shape in the painting. Thus, creates an excellent
base for contemporary painters who are trying to forget the shape
and capture an idea" (Daniela 186).
This perspective aligns with my approach in this series, where I focus not on the
literal replication of landscapes but on conveying the emotional resonance of these
scenes in harmony with ancient Chinese artistic principles.

Liu 35

Fig. 17 Neither Mountains nor Water. 2024

Liu 36
In the Neither Mountains nor Water series (Fig. 17), my creative process
embodies hybridity—melding the ancient ethos of Spirit Resonance with my creative
approach. I juxtapose the tranquillity and tumult of forms through hybrid techniques,
using balanced asymmetry and spatial dynamics reflective of Proper Arrangement, as
listed in the Six Principles of Chinese Painting. The artwork fuses traditional Chinese
green-blue tones and an earthy palette with bold abstract shapes, creating a visual
symphony of ethereal landscapes. Embracing the Bone Method, my varied and
confident brushwork infuses structure with spirited movement, marrying the gestural
calligraphy with a modern, self-reflective rhythm. This series is not just a representation
but a reimagining, where each stroke bridges the past and the present, echoing the
muscle memory of calligraphy while charting a path of innovative expression.

Layering serves as a metaphor for the accumulation of thoughts and
consciousness. It is not about physically peeling each layer away but comprehending
their origins and the process. Each layer might represent a dissatisfaction with the
previous one or a necessary compromise for the overall effect, often seen when blank
Xuan paper or acrylic paint completely covers an existing collaged print. The act of
layering and covering can be interpreted both as one form of 'letting go' in my process
and as the emergence of a new form of attachment. Mistakes, when they occur, are
embraced as part of the journey and another type of 'letting go.' The realization is that
once a print adheres to the panel, its position is extremely difficult to relocate anymore.
It is a form of acceptance and release integral to my practice. It is a duality that speaks

Liu 37
to the complex nature of creation and perception, highlighting the cycle of satisfaction,
dissatisfaction, and the continuous evolution of the artwork.
This blending of collagraph printmaking and painting, evidenced in the Neither
Mountains nor Water series, vividly embodies my exploration into how these techniques
can converge to create novel perceptual experiences for me, directly addressing my
research question on the innovative fusion of artistic methods.

Three Ways to See the World
My painting teacher, Weishi Wang, from my hometown, has emphasized that the
practice and growth of art involve different stages. It reminds me of the ancient Chinese
mediative philosophy of 三看⼭⽔, which translates to Three Ways to See Mountains
and Rivers. This concept is rooted in the 禪宗 / Chan / Zen Buddhist enlightenment
framework and offers a perspective for viewing and interpreting the natural world. Three
stages characterize this philosophy. The initial stage, ⾒⼭是⼭, ⾒⽔是⽔, entails seeing
mountains and rivers as they are. The second stage, ⾒⼭不是⼭, ⾒⽔不是⽔, involves
seeing mountains and rivers not as they are. The third and final stage, ⾒⼭祇是⼭, ⾒⽔
衹是⽔, entails seeing mountains and rivers again as they are. This philosophy, steeped
in artistic and spiritual traditions, offers a unique perspective on the natural world.
The Near, So Far series reflects the initial perception of the world as the first
stage, viewing mountains and water as they are named. This approach to depicting the
landscape is literal, focusing on capturing the visual elements as they were observed.

Liu 38
The Neither Mountains nor Water series explores beyond the literal representation of
landscapes as the second stage. In this phase, mountains and rivers are no longer
limited to their physical forms but are expressed as symbols, metaphors, and abstract
concepts. It is about breaking free from conventional perceptions and delving deeper
into a landscape's hidden meanings, a time of questioning and re-evaluation, where the
familiar becomes unfamiliar, and new perspectives are sought. Moving from
representation to abstraction in art involves deconstructing and reimagining methods.
This can be seen in altered shapes, exaggerated forms, or using colour and texture to
convey emotions and ideas rather than replicating the landscape’s physical
appearance. I am currently working on the third stage, which signifies a return to the
ordinary after a journey of abstraction. It represents an introspection of seeing,
interpreting, and settling on the subject, as well as creative vision and artistic methods.
While writing this paper, I began to step into the Third Stage, which will be a long-term
practice. Unfortunately, the first piece of artwork will not be included in this paper.
However, it will be showcased in the thesis exhibition and can be addressed in a final
reflective statement in this paper after the exhibition and defence. This project marks
the beginning of a continuous exploration, settlement and compromise.

Liu 39

Post-Defence and Thesis Exhibition Reflection

Fig. 18 A Long Long Time Alone, 2024

In the thesis exhibition, I have installed six pieces of artwork: the Neither
Mountains nor Water series, which are four mixed media works on panels; A Long Long
Time Alone (Fig. 18), a large-scale mixed media work on canvas, measuring 1.9 m by
3.5 m; and The Northern Mountains, an editioned collagraph print. They spread
throughout the Michael O’Brien Exhibitions Commons at Emily Carr University Art +
Design. My thesis support document has discussed the Neither Mountains nor Water
series in detail. The new focal point in my installation landed on my latest artwork, A
Long Long Time Alone and The Northern Mountains, in which I aim to encapsulate the
immersive experience and thematic complexity that mark these pieces.

Liu 40

Fig. 19 The Northern Mountains, 2024

The genesis of A Long Long Time Alone was my cache of leftover collagraph
prints. While there were suggestions to display these prints as standalone pieces, I saw
this as an opportunity to breathe new life into them through integration into a mixedmedia format. This decision was influenced by large-scale works by artists Denyse
Thomasos and Anselm Kiefer. I began to blend large dimensions, reassembled canvas
stretcher components, and a layered approach in my work. This artwork was created by
adapting the studio’s corner and allowing the canvas to wrap around it—a method I
refer to as a compromise of the limitation of the small studio space.
The thematic essence of this work was inspired by the landscape on this
traditional Tsleil-Waututh land intertwined with the formal and aesthetic preferences

Liu 41
from my art and cultural background. The grandeur of the North Shore Mountains and
clouds, viewed daily, echo the spirit and rhythm of Chinese landscape painting and are
vividly captured in this work. This setting serves as a backdrop and a conduit for a
meditative art-making process, where the conceptual mountains and rivers are
perceived anew, echoing the third stage of Three Ways to See Mountains and Rivers.
Coming back to the theme of hybridity, my approach aligns with philosopher Jerrold
Levinson’s concept of transformational hybrid art forms. I transcended traditional
printmaking by using printed elements as pigments. This enhances the formal and
pictorial aesthetics of the artwork, like assembling a puzzle with newfound creative
freedom.
Overall, A Long Long Time Alone represents an ambitious exploration into new
creative territories, challenging me to step into unfamiliar physical and artistic zones.
The installation aims to showcase artwork and create an all-encompassing visual
experience that invites viewers into a contemplative space, blurring the lines between
the tangible and the imagined and underscoring the undecidable nature of art and
perception.
In addition, my decision to juxtapose a small print, The Northern Mountains, with
the large-scale painting was driven by a desire to showcase the breadth of my skills as
a printmaker while exploring different modes of viewer engagement (Fig. 20). By
presenting these two artworks with a huge contrast in size, I emphasize my foundational
identity as a printmaker committed to the craft of editioned prints. The large painting
serves as a portal into an immersive experience. I invite viewers to 'walk into' and be

Liu 42
enveloped by the artwork. This scale and formality impose a certain visual and
emotional pressure on the viewer. The small print draws viewers into a more intimate
space, prompting them to come closer and engage with the fine details. Although
smaller, this print also acts as a portal, but one that suggests a distant, perhaps more
reflective space. Viewers are encouraged to construct an imaginative landscape in their
minds. These contrasting scales and experiences enrich the interactive nature of my
work, highlighting the dynamic range and conceptual depth of printmaking as a medium.

Fig. 20 A Long Long Time Alone and The Northern Mountains installation view, 2024

Liu 43

Conclusion
This thesis support paper encapsulates the exploration of hybridity in my thesis
project: the fusion of collagraph printmaking with painting and the integration of Chinese
ink art with abstract painting. Through exploring mixed-media, particularly in the Near,
So Far and Neither Mountains nor Water series, blending collagraph printmaking with
painting revolutionized my understanding of mixed-media art. These two bodies of work
also illustrate how the traditional aesthetics of Chinese ink art can be reinterpreted
through the lens of abstract landscape painting.
This thesis project represents an opportunity for me to unfold both material and
psychological aspects at the conclusion of my two-year MFA studies. During these
years, my artistic practice underwent a significant revolution, which was highly
influenced by technical research and the exploration of the concept of hybridity. Writing
this paper has allowed me to reflect on the trajectory I have been on and revisit the
questions I have been trying to answer. At the beginning of this paper, I asked myself
several questions, such as what might be revealed in the fusion of printmaking and
painting techniques. Based on my experience, I have learned that the fusion of different
mediums became a natural artistic process. My printmaking teacher, Aurora Landin
from Langara College, has encouraged me during the pandemic, saying that one should
perceive printmaking as a strategy rather than a process. Yes, I believe creative
techniques should be learned professionally but utilized as strategies to achieve ideal
results. Another question I asked myself was what distinct qualities abstraction brings to
figurative image-making. From the exploration of my body of work, I see abstraction as

Liu 44
existing based on something concrete, leading to a binary debate. If there is no
concrete idea, what should be abstract? Lastly, I pondered how the act and mindset of
contemplation influenced and redefined my art practice. Although I do not have a
perfect answer to this question, exploring it fully is an exciting journey that extends
beyond just two years of MFA studies and into a lifelong commitment to growth and
discovery in my practice.

Liu 45
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