Lyu Qin Yu’s creation centers on “tiny boundaries” and “blurred bodies”, capturing transitional existence moments with delicate perception, examining the interconnectedness of all things through material, form and space interaction.
BAproject is delighted to present the exhibition “LYU Qinyu: Delicate Boundaries.” Throughout her practice, Lyu has consistently explored themes of “delicate boundaries” and “ambiguous bodies.” With a finely tuned sensitivity, she captures those often-overlooked moments of transition—whether they occur at the point of material contact, in the ambiguous zone between the living and non-living, or at the liminal edges of perception and imagination. To her, a “boundary” is not a symbol of separation or division, but rather a dynamic and fertile condition—an extended threshold through which perception unfolds. Through the interplay of material, form, and space, she seeks to construct a poetic intimacy between fragility and stability, transience and permanence, thereby re-examining the interconnected and permeating nature of all things.
收集、旅行与写作，三者共同编织而成艺术家与世界对话的语法。她在自然中行走，于山间、海岸与冰川之间以身体感知风的温度、石的质地、草的摇曳，并将这些体验转化为一种拟人化的共情。收集而来的材料——树枝、锈铁、石块——被安置于工作室这一“缓地”，它们并非被动等待被使用，而是在时间的沉淀中逐渐显露出自身的语言与姿态。她拒绝急于定型的创作逻辑，而是允许空白与停顿介入，让作品在“发酵”中自然生长。Collecting, travel, and writing together weave the grammar through which the artist converses with the world. She walks through nature, perceiving with her body the temperature of the wind, the texture of stone, and the sway of grass among mountains, coastlines, and glaciers—translating these experiences into an almost anthropomorphic empathy. Gathered materials—branches, rusted iron, stones—are housed in the studio, a kind of liminal space where they are not merely passive objects awaiting use, but rather entities that gradually reveal their own language and posture over time. Rejecting a creative logic that rushes toward fixed forms, she allows emptiness and pause to intervene, letting the work develop naturally through a process of fermentation.
吕鋟瑜
共振 10 Resonance10，2024
尺寸可变 Dimensions variable，装置（海玻璃，铜丝，飞蛾）
Installation (sea glass, copper wire, moth）
材料在吕锓瑜的手中不仅是形式的载体，亦是她进入哲学思考的媒介。如干枯的植物、氧化的金属，她刻意选择脆弱的、正在消逝中的物质，以对抗现代性中追求永恒与稳固的价值体系。这种“脆弱性”并非消极的妥协，而是一种积极的方法论：它揭示出生命与物质不断转化、消逝又重生的本质，也暗示了一种超越人类中心视角的存在理解。时间因而成为隐形的合作者，悄然参与形态的变迁与意义的生成。In the hands of Lyu, materials are not merely vessels of form—they also serve as a medium through which she engages in philosophical contemplation. Through deliberately selected fragile and ephemeral substances, such as withered plants and oxidized metals, she counteracts modernity’s value system that prizes permanence and stability. This “fragility” is not a passive compromise, but rather an active methodology: it reveals the ever-transforming nature of life and matter—their dissipation and rebirth—while also suggesting a mode of understanding existence that transcends an anthropocentric perspective. Time thus becomes an invisible collaborator, quietly partaking in the transformation of forms and the creation of meaning.
In transitioning from painting to spatial installation, Lyu relies on intuition as her compass, allowing thoughts to flow freely across different dimensions. Painting becomes her sketch for approaching spatial relationships, while installations and sculptures extend into an embodied material poetry. She does not seek to “translate” a fixed concept, but rather lets different mediums maintain intertextuality and dialogue, collectively expressing the same themes of perception, existence, and boundaries. As she puts it: “Everything exists in its own right,” and through a humble yet perceptive approach, her artistic practice gently draws near to such existence.
