Liu Bolin Marks 20 Years Of His Iconic Invisible Art

Liu Bolin, often referred to as “The Invisible Man”, is a contemporary Chinese artist renowned for his captivating performance art and photography, in which he meticulously camouflages himself into various environments, from urban landscapes to cultural landmarks. Born in Shandong Province in 1973, he studied sculpture at the Central Academy of Fine Arts in Beijing. When the Beijing artists’ village where he worked was demolished, it prompted him to blend into the ruins in silent protest – an act of both defiance and disappearance. Since then, his “Hiding in the City” series has expanded across the world, tackling themes of political resistance, social invisibility, consumerism and environmental issues. His work blurs the line between body art, photography and performance, transforming himself and his models into living sculptures that challenge viewers to question what is seen and unseen in society. He tells us more.

You have exhibited in more than 25 cities across the globe. How do you ensure your work resonates across cultures and national boundaries?

It has been two decades since I began creating the “Hiding in the City” series in 2005. From “Hiding in the City” to “Target”, and subsequently the “Hacker” series, my artistic language has continuously evolved and expanded. During this time, I gradually identified my focus and direction in installation and sculpture. As an artist, it is immensely gratifying to see my works gain recognition from a wide audience. Through my art, I am able to encourage viewers to observe and reflect on the world in new and meaningful ways.

Where do you get new ideas from?

My works have evolved in tandem with the development of the Internet and social media. Not only do I source themes for some of my creations online, but I also derive inspiration from digital platforms. For instance, the concept for my Venice-themed work was informed by reports indicating that Venice may sink beneath the sea within the next 50 years due to rising global temperatures. Simultaneously, my works have been disseminated through various platforms, gradually gaining traction and resonance among audiences. From early email and Facebook to China’s mobile news apps and Weibo, and now WeChat and Instagram, my works have expanded their reach in response to the evolving landscape of the Internet and mobile applications. Throughout this process, I have received feedback from viewers worldwide.

What questions are you trying to ask through your art?

My works are more reflections on the relationship between man and the world: man creates the world, and the world in turn regulates mankind. How do we think about this? How do we face the civilization we have created and our future? We use art to ask what is the meaning of our existence and development?

Many of your photo-performances use your own body as a canvas. Why do you want to camouflage yourself to dissolve into the background and have your surroundings swallow you up?

Most artists aspire to convey their perspectives and emotions regarding the world; however, I have opted for a different mode of expression. My intention is to articulate my views through the act of concealment; hiding serves as my unique form of expression. I am confident that other artists will select methods that resonate with their individual preferences. The choice of invisibility serves as a method of expression that is distilled from my unique experiences and distinct perspective on the world. By concealing myself, I paint my body and face to match the background color. This practice draws inspiration from the camouflage techniques employed by snipers in warfare. Additionally, I incorporate Chinese military uniforms into my works, which reflects two aspirations I held during my youth: first, to become an artist; and second, to serve as a soldier. Through creating “Hiding in the City” artworks, I have realized both of these lifelong dreams.

I found immense joy in hours of shooting; it was standing that shaped my identity. In the process of disappearing – of grappling with my own physical ability – I encapsulated my artistic attitude, observations about the world, reflections on my destiny, recognition of my strengths and pursuit of dreams within these works. This culminated in what can be considered the most fundamental and elegant expression of my worldview.

Can you tell me about your “Hiding in Singapore” artworks in Chinatown and at Merlion Park? How did this project come about?

In October 2024, I participated in the 9th Singapore International Photography Festival. Inspired by Singapore’s unique cultural environment, I created two works that explore the history of Singapore. The Merlion immediately came to mind as a symbol of Singapore’s transition to modern society, with its rich historical and cultural significance. During the creation process, one of the works featured a sculpture of the Merlion with water gushing from its mouth, set against a backdrop of towering skyscrapers that symbolize Singapore’s economic rise. At the Chinatown Hawker Center, I selected the brunch tables and stalls that are a daily fixture for ordinary Chinese Singaporeans. When the earliest Chinese immigrants arrived in Singapore, one of the easiest ways to secure employment was through the catering industry. As long as they were willing to work with their hands, they could sustain themselves. Both of my works pay tribute to Singapore’s historical and contemporary relationship with its past.

What was it like working in Singapore, and what was the main idea behind the “We Are the World” camouflage photo-performance at the National Gallery Singapore during Singapore Art Week 2025?

During the creation of these two works, I maintained close contact with the local residents and observed that Singapore’s unique cultural atmosphere was distinctly different. People of diverse religions, skin colors, languages and cultures coexist harmoniously. While Singapore shares similarities with other international metropolises like New York, Paris, Hong Kong and London, it stands out for its relatively minimal social issues compared to those in Europe and the United States. Inspired by this, I wanted to create a work titled “We Are the World”, which invited participants from various countries, cultures and religions worldwide. Through this piece, I explored as an artist the possibility of harmonious coexistence among ethnic groups with different religious beliefs and cultural backgrounds.

In addition to the work “We Are the World”, which involved 60 participants in front of the National Gallery Singapore, I also created a piece at Clifford Pier, Singapore’s earliest pier. For this project, I invited individuals who worked on the original pier to participate. Built in 1933 and now part of the Fullerton Bay Hotel, Clifford Pier holds significant historical importance. Through this work, I aimed to commemorate Singapore’s immigration history during this period.

“We Are the World” seems to have a unifying message. What message do you wish to convey to audiences? How is Singapore a model of multiracial and multicultural harmony and a symbol of global peace?

“We Are the World” is more about humanity as a whole: we are part of the planet, and we should love and tolerate each other. Religion says to love the world, and my understanding is that we are all part of a whole: you are me, and I am you. The war and killing should be stopped, and Singapore can set a model for the current political and military situation in the world, and provide a new possibility for a model of harmonious human survival in the future world.

Your projects require immense attention to detail and precision. For “We Are the World”, how did you plan and execute such a large-scale project with so many participants, which was your largest artwork ever?

During the preparation of “We Are the World”, my team provided invaluable support throughout the process. They accompanied me from the initial stages of creation and have continued to collaborate closely until now. I am deeply grateful for their unwavering support. The Deck team in Singapore played a crucial role by facilitating coordination with the local community, government, personnel and equipment. Their meticulous and comprehensive efforts were instrumental in ensuring the success of this project. Without their dedication, this endeavor would not have been completed successfully. Since 2013, I have been striving to engage a diverse range of participants in my works. This time, we invited 60 individuals from around the globe to take part, marking the largest number of participants in the history of my projects. During the preparation process, my team collaborated closely with Deck’s team, conducting meticulous work that included recruiting numerous painters and volunteers to assist with the project. My team also began preparing clothing and footwear well in advance. The entire process involved extensive coordination and attention to detail, requiring significant communication efforts.