Marcia Liu
Marcia (Yibo) Liu, born in 1990, grew up in Shanghai and now lives in New York. Bachelor's degree in traditional printmaking in Shanghai 2013 and master's degree in Fine art studio in Rochester 2023 (US). Now lives in New York. Marcia focuses on found-objects sculpture and monotype printmaking as her two main mediums. Disciplined but creative art experimental topics express her memories and perception of the changeable modern society.
In today's society, it seems undeniable that people feel anxious, lost, or lonely more frequently. Modern cities have been in a state of “needing renewal” for a long time, which means constant elimination. Gorgeous and brand-new parts are constantly popping up as if those old things will be erased before they have a chance to become a part of history. As the saying goes, environmental changes will affect a generation's development. The rapid economic development has left our generation of young people facing countless choices. Mental stress quietly affects the way of thinking; therefore, behavior will also differ. And this series of changes will once again affect the entire society, like the causal loop. Will it be a relief if we slow down and return to nature? My works combine the pressure of real life, the natural world, and the unknown space of the universe; I aim to use calm and elegant colors to express the pursuit of a higher level of spiritual world. Changes in brightness and color saturation correspond to the diversity of historical development, from the creation of civilization to the exploration of the future universe. The abstract shapes in my work represent the power of nature. The figures and small artifacts floating in the landscape are the promise of technological revolution merging with our pristine nature.
Instagram: marcialyb
Website: marcialiu.com
* This Interview is published in Issue 5
Hi Marcia, tell us about your background. How and when did you first start to work?
I was fortunate to have access to many Western art catalogs from an early age, which most likely led to my strong interest in art for as long as I can remember. According to my family's description, I’ve been curious about various materials since kindergarten and always disassembled and played with household items as toys.
That destructive behavior in childhood felt like the beginning of art—it fostered my interest in sculpting and sensitivity to materials. However, due to the unique education system in China, I only had the opportunity to choose my artistic path in college. After working with different techniques and exploring color palettes in printmaking, I decided to move to the U.S. to further my art education and transition from two-dimensional work to exploring three-dimensional space.
How do you begin to work? What is your process like?
My work is divided into two categories: sculpture and printmaking. For both, I prefer to work on multiple pieces at once since each one requires repetitive thinking.
For sculpture, the creation process is the most exciting part. I collect abandoned objects from various places—such as vintage instrument cases or drain uncloggers—and assemble them by classifying their social background, original function, or color. It's like playing with toys.
My prints are more like a diary. Occasionally, I record life experiences or emotional states and translate them into patterns and color blocks. Words can feel too concrete, while abstract images leave more room for interpretation. Creating with images helps me reflect on my current state and opens new paths for inspiration.
Marcia Liu’s works is featured in Issue 5 of Artsin Square magazine, and her interview is also included in this issue. Learn more.
Your statement highlights the impact of modern society on people’s emotions—anxiety, loss, and loneliness. How does this inform the themes and narratives in your art?
Art-making is a lonely process. Society is fast-paced, and like everyone else, I face anxiety about living conditions, relationships, and the future. I don’t intentionally try to speak for the general public—I simply express myself as an individual affected by this environment.
My works may explore different arguments, but they all branch from the same theme: the pressure of life in modern society. With more control over my time as an artist, I choose to slow down and observe others and the world around me. I look for similarities between my own journey and others’—or between myself and the urban environment—and transform that reflection into artistic language.
If the essence of art is a reflection of our inner and spiritual world, then I choose art as a form of spiritual salvation. I hope to generate common emotional ground with others who feel similarly.
You mention using calm and elegant colors to express the pursuit of a higher spiritual level. Can you elaborate on the symbolism behind your color choices?
It’s hard to define my color choices precisely. Technically, I mix bright pigments and then add black and white to create a gray tone. This unifies the scene and gives it a subtle misty quality.
I prefer a grayish look rather than intense, glossy colors. Gray feels more sober—like an old object, it carries mystery. My preference likely relates to my upbringing in Shanghai, where neon lights coexist with solemn historical architecture. That contrast—modernity and history—is what I try to reflect by mixing brightness with gray, creating a symbolic blend of past and present.
Your approach is described as disciplined yet experimental. How do you balance structure and creativity, especially in expressing themes related to modern society?
Before starting a new project, I brainstorm extensively. I mentally combine visual elements from various sources, exploring unlikely connections and translating them into artistic language.
Once the ideas are developed, I begin building the materials with care. Though the finished work may seem spontaneous, every detail—from positioning and sizing to negative space—is carefully adjusted.
Modern society is driven by constant renewal, which inevitably results in obsolescence. Many once-useful objects are quickly discarded. I feel sad that people overlook these items that once contributed to history. That’s why I use them in my sculptures—giving them new life, honoring their value, and reflecting on societal change.
Describe a real-life situation that inspired you.
My inspirations often come from a mix of experiences. While sitting in a café or bar, I observe hurried people, their expressions and body language. I wonder where they’re coming from or going. Watching bags sway in the wind or the ceiling of a building also sparks ideas.
Discarded objects on the street trigger my curiosity—who used them, and why did they become waste? My thoughts jump quickly, often in disconnected fragments. I try to build bridges between them to create a cohesive idea.
In short, everyday life feeds my imagination, and imagination fuels my art.
