Residual of Structure attempts to reconstruct the traditional order between structure and color in figurative painting. By dislocating the relationship between structure and color, it forms an imagistic pictorial state. The work aims to construct a mode of viewing that does not rely on complete visual logic, responding to the collapse and uncertainty of figurative language in the contemporary visual context.
Residual of Structure - Rope and Bin 200x300cm Mixed media on canvas 2024
Residual of Structure - Sculpture 150x200cm Mixed media on canvas 2024
Residual of Structure - Red Solution 150x200cm Mixed media on canvas 2024
Residual Structure - white Solution 150x200cm Mixed media on canvas 2024
Residual of Structure 4 200x300cm Mixed media on canvas 2024
Residual of Structure 9 200x300cm Mixed media on canvas 2024
Residual Structure - Black trousers 40x50cm Mixed media on canvas 2024
Residual of Structure - Means of Production 45.7x55.9cm Mixed media on canvas 2024
Residual Structure-Black Tool 150x200cm Mixed media on canvas 2024
Residual Structure - Red Tool 150x200cm Mixed media on canvas 2024
Residual Structure - Means of production 2 45.7x55.9cm Mixed media on canvas 2024
Residual Structure - The Last Shot 200x220cm Mixed media on canvas 2024
Residual Structure - The Great Wall 150x200cm Mixed media on canvas 2024
Residual Structure - Treatment 60x80cm Mixed media on canvas 2024
Residual Structure - Treatment 2 60x80cm Mixed media on canvas 2024
Residual Structure - Rewrite 40x50cm Mixed media on canvas 2024
Residual Structure-Rewrite 2 40x50cm Mixed media on canvas 2024
Residual Structure-Rewrite 2 40x50cm Mixed media on canvas 2024
Residual Structure - Ceiling 150x200cm Mixed media on canvas 2024
Residual Structure - Swimming pool 150x150cmX3 Mixed media on canvas 2024
Residual Structure - Cake Dream 60x80cm Mixed media on canvas 2024
Residual Structure - Screen 50x70cm Mixed media on canvas 2024
Residual Structure-Screen 2 50x70cm Mixed media on canvas 2024
Buttered Cat originates from a paradoxical joke: if a cat is strapped back-to-back with a slice of bread buttered side up, which side will land first? Li Zhongshi uses this as a metaphor to challenge the certainty of conventional modes of viewing in painting.
In the works, two images are positioned facing each other vertically on the canvas. During the creative process, the canvas is frequently turned upside down, so the images both disrupt and shape each other as they are constructed. When exhibited, the works retain the random orientation in which they were unpacked, leaving the final presentation to chance; once the exhibition ends and the works are repacked, they return to a suspended, unresolved state.
This is a series of paintings whose completion is continually deferred, oscillating between certainty and uncertainty, questioning the stability of the image and fixed modes of viewing.
In the works, two images are positioned facing each other vertically on the canvas. During the creative process, the canvas is frequently turned upside down, so the images both disrupt and shape each other as they are constructed. When exhibited, the works retain the random orientation in which they were unpacked, leaving the final presentation to chance; once the exhibition ends and the works are repacked, they return to a suspended, unresolved state.
This is a series of paintings whose completion is continually deferred, oscillating between certainty and uncertainty, questioning the stability of the image and fixed modes of viewing.
The Wasted Art revolves around the “paradox of image coexistence.” In the work, two images are placed on the same canvas in alternating layers: one is the last artwork created by an artist before their death (such as Van Gogh’s Wheatfield with Crows), and the other is a political news photograph. The two images are mutually destructive during the construction process; each application partially covers the other, rendering “completion” impossible.
This paradoxical state of oscillation, withdrawal, and ultimate unfinishability between images seeks to explore the meaning and destination of existence in an uncertain social reality, as well as within artistic or political systems, who holds authority, who defines value, and who remains unseen due to the fundamental inequalities of power.
This paradoxical state of oscillation, withdrawal, and ultimate unfinishability between images seeks to explore the meaning and destination of existence in an uncertain social reality, as well as within artistic or political systems, who holds authority, who defines value, and who remains unseen due to the fundamental inequalities of power.
The Wasted Art 150x200cm Oil on canvas 2023
The Wasted Art 2 150x200cm Oil on canvas 2023
The Wasted Art 3 150x200cm Oil on canvas 2023
The Wasted Art 4 150x200cm Oil on canvas 2023
The Wasted Art 5 150x200cm Oil on canvas 2023
Genesis is humanity’s yearning for the phallus, its fear of losing its own phallus. It is the eternally desiring, suffering human, an ambiguous relation between existence and nonexistence.
Gun’s Love explores the conflicted and ambiguous relationship between love, sexuality, and violence. The backgrounds of the paintings are drawn from pornographic photographs, over which a gun and political slogans are superimposed. In some works, the text is deliberately erased or obscured, leaving behind a sense of semantic void and unease. Violence is often coexist with intimacy in ways that go unnoticed, “In the name of love” may come from the individual or from the state.
Gun‘s Love2 200x300cm Oil on canvas 2024
Gun‘s Love 200x300cm Oil on canvas 2024
Gun‘s Love-1 150x200cm Oil on canvas 2024
Gun‘s Love-2 150x200cm Oil on canvas 2024
Gun‘s Love-3 150x200cm Oil on canvas 2024
Gun‘s Love-4 150x200cm Oil on canvas 2024
Gun‘s Love-5 150x200cm Oil on canvas 2024
Fold A 300x500cm Oil on canvas 2023
Fold B 300x500cm Mixed media on canvas 2023
Old Sweet 150x200cm Oil on canvas 2022
Portrait Sketch 80x110cm Mixed media on paper 2018
Untitled 100x100cm Oil on canvas 2018
Power of the Program 120x150cm Oil on canvas 2019
Green Tights 40x80cm Oil on canvas 2017
Patch 150x200cm Mixed media on canvas 2020
Patch 2 150x200cm Oil on canvas 2020
Cold Mountain 100x100cm Oil on canvas 2020
American Absurdity 150x200cm Oil on canvas 2018
Aphasia 150x150cm Oil on canvas 2018
The Park. 160x400cm Oil on canvas 2018
The Portrait 50x60cm Oil on canvas 2018
The Park 2 160x400cm Oil on canvas 2019
Confined Room 40x40cm Oil on canvas 2019
Concealment 120x250cm Oil on canvas 2017
Casual Dialogue 150x150cm Oil on canvas 2017
In Twombly’s Studio/Actor 150x360cm Oil on canvas 2017
The Fire 30x40+20x30cm Mixed media 2020 The View 30x40cm Oil on canvas 2020
Jazz Against Blues 150x400cm Mixed media on canvas 2018
Plants 80x100cm Oil on canvas 2018
Green Gloves 100x100cm Oil on canvas 2017
Wormwood 100x100cm Oil on canvas 2019
Wormwood2 50x60cm Oil on canvas 2019
Solation 90x110cm Mixed media on canvas 2018
Tailored Scheme 40x60cm Oil on canvas 2018
Empty Room 40x60cm Oil on canvas 2016
Empty Room 40x60cm Oil on canvas 2016
Fig Leaf 150x150cm Oil on canvas 2018
Amusement Park 100x120cm Oil on canvas 2017
The Gentleman 90x120cm Oil on canvas 2018
I Am Olga 60x80cm Oil on canvas\printing paper 2018
Cinema 60x80cm Oil on canvas 2016
Repetitive Portrait X4 30x40cm Oil on canvas 2017
Advanced Animal X2 21x30cm Oil on wooden boards 2018
The Body 150x200cm Oil on canvas 2018
Night Banquet 80x100cm Oil on canvas 2018
Pigment 30x40cm Oil on canvas 2017
White shirt 60x80cm Oil on canvas 2017