The works of Li Jikai remain in a state of gradual change. As time flows away slowly, something gradually penetrates deep to the bone, and others alter in silence. As is observed and acknowledged by all, Li is attempting to release the inner soul of his paintings during the procedure of artistic creation in recent years. The most genuine part that he fervently intends to express struggles to free itself with time from the previous narrative mode and drawing language, which used to be composed with prudence and pave the way for the viewers’ understanding of the inns and outs of the paintings. This new change is specifically reflected in recent years through the drawing trace of the sweep and dash of his brush as well as the fragmental and chaotic background. From “the self-justification in the beginning to daring to speak the truth at present”, Li believes that “the most important thing is how to be honest to oneself”.
Just as what he says, in his latest works of this solo exhibition, we perceive not only “honesty”, but also a distinctive inclination of retrospection. Different from meditation which lingers in imaginary space, retrospection bears more intensive subjectivity by leading to reality, thus revealing more conflicts, which is particularly manifested in the description of the self images. In his previous works, Li attaches more importance to the settings and surroundings, while the self images occupy a very small portion of the whole space. Apparently, the surroundings convey the deepest and the most fervent feelings of the self images from Li, who accordingly sets the part of the self images as passive, small and too vague to be recognized. However, in Li’s recent works, a good many paintings which emphasize the self images instead appear in succession. The settings, as a result, step back to create an emotional effect, leaving the portrayal of the self images as the main subject. Meanwhile, the faces of the self images are no longer indistinct and muddled; instead, the viewers could clearly recognize the facial expressions and some other details. Previously in Li’s works, the small figures which stand far away, lonely and helpless, now turn out to have extremely distinct and expressive facial expressions, whether they are dismal, indignation, pondering, sorrow or yearning, etc. For instance, those skull-like things with different facial expressions in “Forest in a Coming Night” seem to represent various complicated states of mind glinting in the darkness. But there is nothing which needs to be concealed; they are the most genuine part of a real self. Unfold them to your heart’s content please.
Compared with the previous phase, the current works of Li begin to explore the deepest root of the subject, apart from the characteristic of unfolding the true self. In the past, the self images were confined to the helplessness and loss in reality, the feeling of which now turns into tiredness, questioning, resistance and abandon of the former state of mind. However, the surroundings should not be blamed only. Isn’t there anything wrong with myself? A boy with a “Lantern” in his hand, looking for the way out, finds out brilliant lanterns everywhere in the entrance. Is the lantern in his hand, which he regards as the bright lamp in the darkness, really that important? Is the deliberate pursuit and plot reflected only in “A Wind Runner” and “An Empty Net”? It is this self-examination that enriches Li’s works with more conflicts. Also, some works in this period completely discard the relaxing monochromatic pattern which still exists in some other works, though the employing of this pattern has been reduced to a certain extent. The whole picture is full of various forms of fractures and fragments, as well as the trace of different directions of his brush, which thus, unexpectedly endow his recent works with a sense of power due to the pouring out of emotions.
Obviously, Li breathes a power of recovery surging in the darkness into his new works, thus showing a different Li Jikai to us. Actually Li never gives up recording the inner world in his works, even for a slight change in one’s heart. It is not easy at all to face and examine ourselves, and it also needs great courage to taste the bitterness on one’s way of exploration. However, just as what is indicated by “Heart”, the true red heart is still alive however wounded it might be. In the obscure dark night, there are questions and conflicts. But isn’t there still light? The light in “Burning Match”, “Lantern” and “Ray of Light” looks just like the glow of fire in the little match girl’s hands, burning as the faint hope and warmth in the coldness and desperation. The fire which will never be extinguished, tells us that the inner soul needs to be protected. And because of it, we can “Dream of Starlight in the Dark Night”.
