Li Wei Has Been Looking For The Real "Chinese Style".

"The artist's involvement in clothing design, art from the perspective of reconsideration of Commerce, emphasizing the purity and importance of art" is Li Wei's unique artistic vocabulary that he wants to convey in his works.

Li Wei's works mainly selected six aspects of her works in recent years: day and night rheology, screen and peace, quiet distance, two-dimensional water gauze, ornament of time, body and identity.

In Li Wei's works, her unique cutting methods are fully displayed.

Inspiration is also the core content of its exploration and practice since the beginning of twenty-first Century.

We see the traditional materials such as silk, silk, Luo and Ou Gensha, and the subversion design of these materials under the combination of technology and art.

Whether Eugen's texture is lightness, the sense of steel of raw silk, or the high cold and soft beauty of it, it will become the unique and unreplicable artistic design element of this work.

The flying corner of the conference will be free silk and breathing.

Although the material is cut by a three-dimensional cut, it will only stain the whole space.

Over the years, as artists and educators have dual identities.

In academically, it advocates East vision aesthetics, emphasizing the acceptance and pformation between fiber art and clothing carriers.

In art teaching and practice, Li Wei combines the essence of traditional fibers with modern textile art perfectly in a unique artistic way.

Since the creation of 80s, Li Wei has been emphasizing the search and expression of Chinese culture and elements of Chinese culture.

She divides her creative process into three stages. The first stage is from 80s to the beginning of 90s. It shows China as a direct expression of Chinese elements. The second stage is to go to China in 90s to remove the symbols and pursuits of China.

The simple atmosphere; the third phase began in twenty-first Century, then China.

As a contemporary Chinese design artist, she has been studying for a long time in the western system like Lssey Miyake, but has not "integrated Westernization" but resorts to the exploration of "Chinese nature". Her works emphasize the "inner space", "void", "fuzziness" and "two-dimensional space". By using new materials such as "water gauze" and so on, through weaving, embroidering, dyeing, painting, painting and other comprehensive methods, we create pieces of marginal works in clothing, installations, paintings and products, which seem to return to the origin of human art.

After a long period of exploration and a look at the design of many Chinese styles today, Li Wei seems mature and indifferent.

"Chinese wind" is equivalent to moving Chinese elements directly to clothing? No, Li Wei replied, the connotation of Chinese culture is far more than that.

At the stage of preparation, Li Wei almost traveled to all the ethnic minority areas in China, nourishment from the traditional culture, and had long and in-depth exchanges with the international artists in France, and also had a broader vision of Chinese traditional understanding.

Li Wei said that after understanding the connotation of Chinese culture, we can better understand its existence.