The drawings created formerly by Li Fan drew from the reality of life to make detailed observation and description of humankind, views and space. So that it make us get the impression that the figure detail and humor are the characteristic of his artwork and also his artistic personalities. Human figures in his painting are full of conviction and give us the bright feeling. Li Fan stated at the interview in 2013 that he was trying to describe sensibility of contemporary Asians, in advance to reveal their identities. However, his works stay not only in the level of ‘expression’, but also include the beautiful moment of daily life. It is another expression of homage to people who live every day diligently. The viewers could appreciate the joy of their own life through his works.
When I read the traditional paintings there is always a question that why ancient Chinese were so absorbed by subjects like landscape, flower-and-bird, fish-and-insect for thousands of years and never get tired of them? It seems that there are not preaching and advice which exist in today’s paintings, they prefer to deliver their understandings of "technology", "art" and "life", "living" through "object", like the truth "To be extremely open-minded, your bosom will be filled with Vitality”. It is quite a long process for me from the so-called drawing with directions, to wanting to draw everything, to being able to draw anything, which is not a long process of painting but of the heart. It is like a process of getting my own "soul" back, anyway I have done everything, and fortunately I am possessed. I think it can be ended as a stage and I can enter the fourth stage. Works of the exhibition "Sheng Yi" are some small paintings, I still have nearly one hundred larger paintings from two meters to four meters with propylene or paint. They are guinea pigs of my painted works on paper and also the beginning of the next stage, they are not amount to anything, so I do not show them for the time being. To me, the material should not give me any shackles and be as direct as possible. When I'm painting, even the worn clothes would make me feel uncomfortable.
I like using paint which don't need to mix and its splashing is very direct. In my opinion, the temperament of Chinese is "refined", especially Chinese art, but now is said to be industrious and brave. Paintings should have such a temperament, but it is not expressed only by Chinese painting. Artists and galleries have begun to look for museums for cooperation, but the British have raised a question for us, it is "the value of Chinese contemporary art in the future of China and the role of Chinese art in the global culture, "I should say this is a good question which we really should think about. For now, artists' holding exhibitions at the museum and at the gallery are completely not the same thing. There are still much "Culture Revolution "complex-criticism, correction and so on- in our artists' consciousness! Although time has the concept of "stop", the surroundings are always endless! However, what things "art" can do are too many, in addition to "criticism", there are more possibilities.Excerpt from "Dialogue between Li Fan and Yin Jinan"
April 27, 2010
Bio of Li Fan
Born in Beijing in March, 1966;
Studied at the Printmaking Department of the Central Academy of Fine Arts from 1988;
Graduated from the Central Academy of Fine Arts and taught there in 1992;
Currently is the deputy director of the Printmaking Department of CAFA and a Master Instructor.
2014 Homage to Life, Arario Gallery, Cheonan, Korea
2010 Life and vitality, CAFA Art Museum, Beijing, China
2006 Arario Gallery, Seoul, Korea
2002 National Library, Paris, France
2001 Terre de Chine Gallery, Paris, France
Perspective of Cities-Li Fan Lithographs, Museum of Guangzhou Academy of Fine Arts
Perspective of Cities-Li Fan Lithographs, Shan-gallery, Shanghai, China
Art Gallery of Beijing International Art Palace, Beijing, China
Panorama Gallery in Hilton Hotel, Beijing, China
1997 Modern Art Museum in Chamalieres and St-Brieuc Art Museum, Paris, France
2012 Paper•Non pape, Chinese and Japanese painting exhibition, CAFA Art Museum, Beijing, China
2011 Power of Academy , Museum of Guangzhou Academy of Fine Arts
2008 Chinese Art Today, The China Millennium Monument museum, Beijing, China
2009 Scenery, Sketch Exhibition, Institute of Arts and Crafts, University of Tokyo Arts, Japan
2005 The 11th International Triennale, India
2001 International Printmaking Exhibition, Qingdao, China
Chinese Art on Paper, Paris, France
Chinese Fine Arts Institute’s Sketch Exhibition, Beijing, China
Korea-China Modern Printmaking Exhibition, Korea
Modern Printmaking: Beijing-Mingguwu International Printmaking Exhibition, Japan
The 12th National Printmaking Exhibition, Shenzhen,China
China’s Modern Printmaking Exhibition, American Portland Art Museum
Graduated student’s works exhibition of Central Academy of Fine Arts, Beijing, China
Exchange Exhibition among Central Academy of Fine Arts, Institute of Arts and Crafts, University of Tokyo Arts, Japan
Exchange Exhibition between Taiwan National Art Gallery and Chinese National Art Gallery
Courtesy of the artist and CAFA ART INFO.