A community magazine showcasing extraordinary foreign talent in America
Lishan Liu’s surrealist sense of humor, through fashion and video
October 16, 2025
by Kelly Rogers
Lishan Liu is a video director and photographer based between New York City and Shanghai, and founder of the Creative Studio 6li3. Her work has been included in the Fashion Film Festival Milano 9th Edition and Rencontres Internationales 2019.
Here, she talks with 4N editor Kelly Rogers about her recently produced video featuring the 4N Consulate, her foray into producing fashion campaigns, and recent creative work.
Kelly Rogers: Tell me about your origin story—when did you get to New York, and how did you get into directing?
Lishan Liu: I studied at the School of Visual Arts from 2015 to 2018, where I earned my MFA in Photo, Video and Related Media. That’s where I first started using the medium to create my own work. After graduating, I moved back to Shanghai and shifted into the fashion industry. Since then, I’ve been working in video production for brands—directing campaigns and social media content rather than focusing on personal artwork.
KR: Yeah, you’ve worked quite a bit on fashion-related projects—the Crocs video is so fun. And recently you shot a video for 4N covering our installation at the New York Art Book Fair, 4N Consulate, at MoMA PS1.
LL: Oh yeah, thank you. My style and aesthetic lean more toward humor and playfulness, and I hope that is also reflected in the 4N Consulate video as well.
KR: I think that’s why it felt like such a natural choice to work with you to capture the 4N Consulate, because your sense of humor is so similar to ours at Special Special. 4N is especially tongue-in-cheek, and so is your work. What were your initial thoughts on the installation, and how did you want to capture it?
LL: I was really excited when I first heard about it. It’s fun, interactive, and invites people to actually come in and participate. There are so many layers to it, and at the same time it’s also a reflection on the challenges foreign talents face in sustaining their professional status and livelihood here. For the video, I didn’t want it to feel too heavy or sad—I wanted to reflect that critique, but present it in a way that felt chill and enjoyable for viewers.
KR: We’ve found that sort of approach can create easier entry points into serious subjects, especially right now on the topic of immigration. A sense of humor makes it more approachable.
LL: Yeah, I totally agree. And the installation could be educational for those who don’t know what the process is like.
KR: We definitely wanted people to learn something through interacting with the installation while also keeping it fun. One of our 4N Consulate agents is a performance artist, and one is an actor, and they both really leaned into their characters as these fictional government office workers, which ended up giving the whole experience a bit of an absurdist feel, too. I noticed you also use this absurdist or surrealist tone in a lot of your work as well.
LL: I’m glad you noticed that. I feel like that’s something I’ve been trying to explore more recently. In the video I directed for Fey Fey Worldwide’s AW24 collection, for example, the models were staged throughout a house almost like it was haunted. Everyone was frozen in certain moments, which created a definite sense of surrealness. That kind of atmosphere really fascinates me.
KR: Yeah, I really appreciate your attention to worldbuilding. How did you start working with Fey Fey Worldwide?
LL: We were internet friends for a long time and we have many mutual connections. Once we finally met in person in Shanghai, we started collaborating on several projects. At the time, she was making a cap with “I love my wife so much” embroidered under the brim. I pitched a promo video idea for it, and she loved it. We drove out to a suburb of Shanghai and filmed in a field near an abandoned church.
KR: Yes! It’s cool to see both of your senses of humor coming together in that video. It made me laugh.
LL: After that, I collaborated with another artist on the 3D animation and combined it with the footage we shot in the field. I think the absurdity really comes through in this approach—mixing humble, realistic filming with quirky 3D animation. I have to say, our first project clicked so well that the brand wanted to continue working with me. Since the brand is based in New York City, I applied for an O-1 visa following their invitation and moved back. I’ve been involved in most of their video campaigns ever since.
KR: Where did your interest in fashion come from?
LL: Honestly, it was kind of random. When I graduated, I wasn’t sure what I wanted to do. At the time, I wasn’t interested in being a fine artist—making my own work and relying on sales to make a living. I moved back to Shanghai, and many of my friends were involved in fashion. They had their own brands or worked as photographers and producers. One friend, who runs this accessory brand Soft People Area, asked if I wanted to direct a video for them, and I thought, “Yeah, why not? It sounds fun!” That’s how I got started—very organic circumstances. I’ve also always been interested in pop culture and fashion merchandise.
KR: Are there any artists, designers, or directors whose work inspires you?
LL: I’m always inspired by work that combines intelligence with humor. I love this contemporary artist David Horvitz, who works across art books, photography, performance, watercolor, and mail art. One of his works, Mood Disorder, documents the circulation of a photograph of him across the internet. The image—a self-portrait of Horvitz with his head in his hands, ocean waves crashing behind him—was initially uploaded to Wikimedia Commons and placed on various Wikipedia pages. From there, it spread to over a hundred websites as a “stock” photo, illustrating articles on a wide range of mental health and wellness topics.
In fashion film, I am really into the director duo Torso. They are two members of the art collective DIS who have been directing fashion films for several years. Their work is iconic—sleek, stylish, and often carries the kind of surrealist edge you mentioned earlier.
KR: Are there any recent projects you’ve worked on that allowed you to experiment with the medium more?
LL: The most recent video I directed is the Gone visualizer for Berlin-based Chinese producer RUI HO’s latest album In Flux, released by Modern Sky. Unlike a typical music video with a story or performance, a visualizer is all about atmosphere and feeling—turning the music’s emotion into moving imagery.
In the Gone visualizer, you see the musician in multiple looks, arranged in a symmetrical sequence that plays forward and then backward. In line with the title, “Gone,” the video ends where it starts—as if nothing really happened. I approached it through a photographic lens, manipulating camera movement and lighting during filming, and playing with graphic composition and editing in postproduction to translate the sound into visual rhythm. Sometimes the protagonist looks a bit unnatural because of speed ramping, which adds a subtle surreal vibe to the whole piece.
KR: As you continue creating videos and directing, do you want to stay in the fashion realm, or are you open to whatever comes?
LL: I’m actually open to anything. I’m really interested in the medium itself—video is a time-based way of thinking, and I’m curious about how to strategically apply it to different subjects. So beyond fashion, I’d like to experiment more with other areas as well.
KR: Is there any specific subject that you’re feeling inspired to explore?
LL: Lately, I’ve been really into cooking. So I’ve been thinking—if I’m not making videos for fashion, maybe I can explore cooking. It’s another way to apply this medium. It might start with filming myself cooking. In my video work, I often use a lot of camera movements and dynamic editing, whereas most cooking videos online are fairly static. I’m thinking about how to apply my aesthetic and style to this subject, but it’s challenging to do on my own unless I can find someone to handle the camera work.
KR: I could see that being really involved, but would be such a cool result. We love collaboration around here. And, you recently started your own creative studio!
LL: Yeah, it’s called 6li3, pronounced like “63.” If you know my name in Chinese pronunciation, 6li3 actually refers to my name—6 is Liu, li is Li, and 3 is Shan. The studio, rooted in my background in video direction, aims to provide ideation and production services for video content and experiences, engaging with brands in fashion, lifestyle, and culture to create distinct visual narratives. To launch the studio, I conceived a dual narrative to reveal the logo, which is now on the landing page of the website. These two videos were creatively directed by me and 3D animated by Tianyi Liao, a very talented 3D artist based in Japan. I’m also naturally shy about promoting myself—sometimes it feels strange to use my own name. I thought using a studio name could be a professional outlet to release work while taking some of the pressure off myself.
KR: I see, it’s like one step removed. I’ve worked with so many artists who get shy about talking about their own work. But if this is an angle that helps, that can be really useful for other people to consider, too. Is there any other advice you might have for anyone following a similar creative path?
LL: I think the most important thing is to stay open and think like water—flexibly and fluidly—so that your practice flows more smoothly and efficiently. Stay curious about new ideas, new mediums, and even unexpected directions. Experimentation and trying new things are essential for growth. At the same time, community is crucial: having collaborators, mentors, or peers who understand your creative process can offer support and inspiration when you need it, helping you go further.