Liu Yujia was born in Sichuan in 1981 and graduated from the Sichuan Fine Arts Institute in 2004, later obtaining her Master’s Degree from the London College of Communication at the University of the Arts London in 2009. She is currently living and working in Beijing and is about to launch her first solo exhibition, Vertigo in Beijing. The Third Man, a single screen black and white video with sound and The Progress of Ending, a three-screen color video installation with sound will both be presented in this exhibition.

The content, time and space of Liu Yujia’s video work had gone througha strict setup;yet there were no predetermined clues of development, making the story flow,glutted with contingencies andunpredictability.The use of lens language, scene layout, selection of shooting objects and uncontrollable relationship betweenthoseshooting objects brought the dailyactivitiesand story a touch of unfamiliarity,thereby triggeringthe bizarre and derangedsenses.

A major part of her creation in art practice can be attributed to the use of a single and uninterrupted fixed lens as well as the post-editing of movement scenes. However, chasing scenes launched by an object (such as the airplane in The Third Man and the spinning gyro in The Progress of Ending) have also carried a lot of scenes and details with evolution and digressions. They have simultaneously emerged themselves in close-up shots and have thereby led into "gazing" scenes, just like what Jean-Luc Godard meant by mentioning fiction created by gazing in Introduction of Movie History, therefore introducing fiction.

Ever since her first video work, The Ray, Liuhas been deliberatelyusing structures of dual nature or mirror image;as a result all the elements in her filmshave been endowed their own doppelgangers or mirror images. However,the formation or introduction of suchmirror-image relationships arebased onathird party that may be reset or displayed in an extended time or perhaps the appearance of a certain kind of accidental external relationshipor the image object induced from perception, movement or emotion. Having been pulled into the film, the mirror images, suspendedtogetherwith the mixture of sticky stagnation and slow-motion scenes tailored through film editing,make these works linger with haunting mystery and unstable atmosphere.