QingRan Liu

Qing Ran Liu
London
qingranliu2024@gmail.com | +44-7933983137 |
www.linkedin.com/in/qingranliu

https://www.instagram.com/qing_ranl?igsh=dmcydzVqZTJpbXZr&utm_source=qr

Textile & vision art

Hand made Studio:tropijade_cottage
Based in E2 9DQ

https://www.instagram.com/tropijade_cottage?igsh=MWF4bmM0cm9uOTlodw%3D%3D&utm_source=qr

https://www.tiktok.com/@tropijade_cottage?_t=ZN-8wncSx0pPmA&_r=1

https://www.etsy.com/shop/TropiJadeCottagePress

2025

Soft Resistance: Textiles and Memory — The Artistic Practice of Qingran Liu
OURCULTURE
19 January 2026
https://ourculturemag.com/2026/01/19/soft-resistance-textiles-and-memory-the-artistic-practice-of-qingran-liu/

The Perfect Fusion of Visual Art and Textiles — An Alternative Vehicle for Personal Emotions
ZCOOL
https://www.zcool.com.cn/work/ZNzIyNzI1OTY=.html

My artistic practice moves fluidly across textiles, movement, and the moving image—each medium offering a different way to explore how we experience time, space, and material presence. I’m particularly drawn to the subtle dialogues between body and matter, and how gestures, whether choreographed or woven, can give shape to emotional memory.

The mechanical logic of the Dubied knitting machine provides a framework—yet it’s within this structure that disorder thrives. Threads shift, colors bleed, and patterns emerge almost accidentally. This process feels less like control and more like negotiation. Printmaking, on the other hand, becomes a space for fragmentation: images are taken apart, memories dissolved, then reassembled into open-ended compositions—sometimes as installations, other times as nothing more than a lingering mood.

Much of my inspiration comes from the personal: dislocation, nostalgia, miscommunication, and shifting identity. I see textile not just as a material practice, but as a vessel for holding fragile emotional states. As memories begin to fade, I attempt to capture their afterimages—not in clarity, but in the texture of what remains. Softness, restraint, and a quiet sense of tension often guide my aesthetic.

Beyond the studio, I engage in residencies, hands-on workshops, and interdisciplinary collaborations. These experiences allow me to inhabit different cultural and environmental perspectives, enriching my approach to making. Ultimately, I want my work to become a space for exchange—a space where stories are not told, but felt, and where connection happens in the in-between.

Royal College Of Art , Major in Textile M.A. Sept 2023 – OCT 2024


Exhibitions and activies
Exhibitions

2026

Fringe Arts Bath Festival 2026
22 May – 6 June 2026
Bath, UK

Primary Exhibitions
16 May – 7 June 2026
GMBB KL, Kuala Lumpur, Malaysia

Collective Voices Exhibition 2nd Edition: Being-in-the-World
22–25 May 2026
Safehouse 1, 139 Copeland Rd, London SE15 3SN, UK

Those Flowers Vol. 3: Flowers Unknown to All
22–26 April 2026
Setagaya Art Museum, Citizens Gallery A3, Tokyo, Japan

Slow Breathing
4–15 April 2026
Ta Contemporary · Lakeside Art Space, Yuanxiang Lake Park, Shanghai, China

Les Variations Textiles XXL 2026
27 February – 25 April 2026
La Halle Roublot, Fontenay-sous-Bois, France

ART IS #2
11 February – 1 March 2026
CICA Museum

I Personally Believe That
16–23 January 2026
Tavistock Chambers, 40 Bloomsbury Way, London WC1A 2SE, UK

2025

Lost Ghosts
15–20 December 2025
The Gallery, 26 Lillie Rd, London SW6 1TS, UK

ATF – Art Talent Fair
26–28 September 2025
MOHO Gallery, Real Collegio, Lucca, Italy (Stand Q4)

Fables – SWANFALL ART Annual Exhibition 2025
26–31 August 2025
Mall Galleries

SOFT DATA
4–10 August 2025
Fitzrovia Gallery, London W1T 5EN, UK

Roots of Roots
26–28 July 2025
Filet Space, London N1 7QP, UK

Abstract (Online Exhibition)
1 July – 31 August 2025

Textile & vision art & womenswear