When Chinas Collective Memory Encounters a Fictional Childhood——Shen Dong

    Li Tianbing was born in Guilin, Guangxi, China in 1974, and studied at the University of International Relations in Beijing from 1992 to 1996; from 1996 to 1997, he studied at the Department of Plastic Arts at 8th University of Paris (Université de Paris VIII)in France; from 1997 to 2002, he attended the National School of Fine Arts of Paris (ENSBA, that's école nationale supérieure des Beaux-arts de Paris) and learned from the French painting master Professor Vélickovic from Painting Department and Professor Boltanski who is a world-renowned artist in the Multimedia Department. In 2002, Li Tianbing received diploma from the ENSBA as an outstanding graduate with the unanimous approval of the jury.

    What leads me to encounter with the painting of Li Tianbing? Yes, I use the word "encounter". What is the real implication of the word "encounter" here? For a long time, I have been attracted by Li Tianbing's painting. Why was I attracted? First of all, it is not because of the difference, on the contrary, it is due to similarity or "resemblance". I couldn't get over my ego and feel the difference directly, but in fact, those things related to me first catch my attention. For example, as an only child with a lonely and fantasy childhood, Li Tianbing hopes to have brothers and sisters. The painter painted his little fictitious brother in the painting. I am moved by this or these images of little brother because I am also the only child with a lonely childhood. I also imagined that I would have brothers and sisters. I feel that I resemble Li Tianbing. Does "resemblance" more belong to the aural or the visual sense? "Resemblance" is just like a never-ending story. But how do I perceive the "resemblance" itself if there is no "difference"? Facing the paintings of Li Tianbing, I feel that it is difficult to fix them when speaking of "resemblance" or "differences". . There is always a discrepancy between the paintings of Li Tianbing and me, However, this discrepancy accurately pointed out us. In other words, at this moment it appeared us or we are an inherent time itself.

    From a painting to another, from a series to another, I seemingly feel there are familiar things and unspeakable things during each appreciation of paintings. It is as if the paintings have numerous entrances and exits, and familiarity is precisely because there are so many intersections, even the latest paintings and paintings nearly two decades ago. It is as if these intersections pass through the diachronic and enters into the synchronic and produce sympathy. Painting appreciation is like a travel, but we always forget where we are, as we are always being attracted by now and immersed in an atmosphere. Perhaps just so, I would like to say that the encounter is constantly surprising to feel impulse and emotions. Have I been in the same place for many times? This question is no longer important.

    This article, more like a map or a plane, is written according to the chronological order of a painter's creation. Perhaps following the feeling or through a vision, we can experience a resonance and simultaneous appearance in multiple places. Just as the title, this article is a personal oil painting history of the painter or a fragment history of desire, and it can be said that this is a mixed history.

    In 1999, Li Tianbing painted the series of The Distorted MAO and The Distorted Self-portrait, The opposition of the two series of portraits form a contrast, where shows the times of the collective Mao era to the individual self-era. There is an intrinsic relation between two eras. It doesn't mean the decline and replacement of an era by the latter one, or it continues in another way and occupies the latter. In fact, there's always a parallel relationship between the two eras. The times are broken yet continuous. Here, the two eras are just some entrances or exits. For the painter, the painting is not confined to the history of painting. The painting should feel the survival experience of people, feel the life and times and feel the painting inherence and "people" with a tendency of humanism, even if the painting presents some inhuman image, the deformed image of human or the image changing the meaning of human.

    Maybe The Distorted MAO and The Distorted Self-portrait are just the initial exploration for the portrait of the era, as if the era is an opportunity and a start, the artist jumps in and falls into a doomed solitude. However, the painter is to make something emerge. The Distorted Self-portrait is the self-portrait of the new generation. As a generation of only children, and as the first generation to grow up under the background of China's economic reform and opening up, the emergence of this self-portrait is indeed because of the end of Mao's rule. But there is a direct repetition between the two series, where we need to name them one by one. For example, Mao-the public, Self-the public. These broken pieces are both broken and penetrated by strength. There is a special relationship of phalanx and leader between them, the movement of following the leader and the movement of the phalanx itself. For example, there is the desire of Mao: "Great unity of people around the world" and the movement of Mao-the public in the desire: mass movement of constantly moving away from their own territory- national integration. There is the desire of self or people who become rich:" Long live technology" and self-the public movement in the desire: Only function. This is some asymmetric link, the former is a well-known experience, while the latter is a secret that has never been experienced.

    It feels like that the image is painted. Mao's head or face becomes a head with a kind of sense of flesh and blood in the impact or shock by the strength. This sense is not the bloody or horror representation, on the contrary, it is a movement of image. Not only the image but also the movement of the image must be seen. The image and the movement are inseparable. The sense of movement, between the image and the movement of the image, is the speed in itself. The speed that cannot catch up is seen as a lagging phenomenon, when this feeling is presented. This is deformation, it is also a lingering effect on the nerves. The movement or the deformation should be viewed from two perspectives: firstly, as a result of an invisible force, and secondly, as a kind of correction or catch-up, an impulse of life or an intrinsic cause of something. However, the desire cannot be seen as a desire for something, but above all such activities between the two.

    Li Tianbing's paintings give the individual an ontological meaning. The individual cannot be simply reduced to an individual. It is not limited to the dialectical relationship between the individual and the collective. In terms of the individual's conception of the attribute, it rejects all attribute of attributes. He can be active in all the "past" and "history" aspects. He is more like a projected image or a stranger who suddenly enters, and appears in various fields that people are familiar with. This projection is not a kind of traversal, crossing through the past, just as what Croce said that all the history is a kind of "contemporary" history. This projection is accompanied by "contemporary" and he is a supplement of "contemporary" or somehow its future. He is active on the fuzzy boundary of "contemporary" and the past.

    If we say that Li Tianbing is a contemporary painter, it is because he is constantly working hard for the transition to the future. The present will no longer end. This is a kind of delirium. Li Tianbing's paintings galloped in those vague areas with a rare kind of courage, just as it's song in end of each episode of Journey to the West  ,"Dare to ask where the road is, the road is under the foot...". This is different from what Lu Xun said: "Actually, there is no road on the ground. When many people walk on it, it will become a road." The concepts of the roads here are not the same. For the former, the road is like a shape or a shadow under foot. For the latter, the "road" is produced under a premise.
    When drawing the portraits of the era, Li Tianbing used a method of parallel associations. Firstly: The link between the portrait-perception and symbol. These symbols, especially cultural symbols, appear as a syndrome as Nietzsche said. See Li Tianbing's large number of self-portraits. Secondly: The link between subject-feeling and effect, that is there's no simple object but only percept. This process is accompanied by the process of subjectivation, or even parallel to the subjectivation. This object that is not known by the subject moves in the middle of the subject, and all subjective things so far are adhesive, crystal, and irretrievable. Li Tianbing started to answer this question through his own dual cultural identity: movement and the visible movement. This object unknown to the subject moves at which speed that is constantly changing in the alternance of the subject. In the Chinese painting, the Chinese painters always pursue a "perfect" "superior" and "personal" character. These three are all pre-conceptual and do not possess the nature of integrity, sublimity, and individuality. In the western paintings, the western painters expressed their highest, best, and truest sympathy for the flesh and blood or the people in the paintings, which is  similar to  religious doctrines.
    The artist's "craziness" is that everything must be colored, settled, disintegrated and broken. However, the painter does not want to disintegrate the subject or the system, because the subject itself is a kind of destiny, or a kind of cost to be paid when it's viewed. Therefore, it's only when viewed that can be really combined with a deeper unity. Is the painter accompanied by the movement or the movement accompanied by the painter? Who's disintegrating, who's disappearing and who's crazy? In order to gain the knowledge, it seems that there is a laggard, and there is a chaser. Finally it is to know who he is, and finally, where is the finally? Li Tianbing remained silent on this issue, but answered it in another way that paintingspeeds swiftly on the fuzzy boundary between life and death.
    The word "peinture" in French has two meanings. One is oil painting and another is the paint. Therefore, this word has ambiguity. Li Tianbing questioned the ambiguity of the word's meaning, because it is either monochromatic or ambiguous. This ambiguity has a dialectical nature, which means that it is derived from separation. Since we already know that the method is a combination of heterogeneous objects, then we can see that Li Tianbing combines the two heterogeneous activities of the painting and painting. Now the painting (peinture) becomes the method of combination itself, which makes painting and brush painting out of its original monotonous or ambiguous situation. The physical activity makes the nature avoid being quantified by an abstract thing. For example, based on the similarities, the oil painting and the brush painting are reduced to a kind of labor essence and simplified into a white wall or white cloth, which is catastrophic.
    The color in the painting method of the physical action is an interesting issue. As far as the combination is concerned, its color or the light emitted by itself is pure, not mixed. As far as the industrial paint chosen by the artist as a material, it has double red, black and white. The color of physical action paintings is between the oil paints and paint pigments, or similar to their strength and heterogeneity. For Chinese painting, it is similar to leaving blank or the pure feeling in the western painting .
    If the physical action becomes a method, then the body is the combination itself. There is no established body or eternal combination. In particular, people are prone to fall into an illusion, imagining a painter who is painting in the mind and thinking that the body is the carrier of the painter. The imagination is only related to an overall concept, but the body must at least be associated with a certain material to understand the meaning of the action. Furthermore, to which extent the painting has an understanding of itself and this is the measurement function that the method has.

    In 2002, the painter began to paint the paintings using the hair as material, extending the portraits of these eras to certain degree, but not on the nature. We should never confuse the degree with the nature, otherwise, it will become a complete chaos. From this, it can be seen that the degree is by no means a simple quantification but rather a change in the combination itself, which is also the method of measurement itself. The changes in combination do not indicate the changes in the nature, such as increases or decreases in natures, which are self-evident only in the quantified objects. Li Tianbing combines the concept of hairdressing or beauty with the concept of painting. This combination questions the notion of essence of beauty. This old aesthetic mechanism relies on a separation method that everything called beauty must originate from the same place. In terms of the derivation of this old mechanism, it shares the same dialectical relation as we analyzed above in the word "peinture".
    Li Tianbing's painting method of physical action challenges the psychological history of labor. For example, the working people in the Mao era are the most glorious and the service is supreme in the self era. In the general sense of mind or origin it is involved, it is a fancy or fiction that exists in the form of text, which means that it is mixed with symbol or rationality. A text or a book is the image of the world or the face of existence. Li Tianbing combines the disembodied hair with his own body, making them both as a kind of original material. The painter's body is not reduced to the hand because the raw material is the impulse of life or a head. To make the portrait look alive, the head, instead of the skull, must be seen. This living object itself is "memory" or memory is only assessed from this raw material, beyond which material itself there's no memory. Memory is only related to life. In Li Tianbing's paintings drawn with the hair (especially those small portraits) we feel the speed that couldn't catch up. This is exactly the movement of materials or the efforts of life. It is through feelings or images that we have felt this inner strength.

    The understanding of Li Tianbing's painting cannot avoid the book he wrote about his life and study in the ENSBA: Freedom and Order. This is a book that is difficult to evaluate its advantages and disadvantages, because it belongs to the supplement or minority. This book introduces to the readers from the history of ENSBA to the change of times that the painter personally experienced and felt. In the book, the painter himself introduced his own works and the works he saw. The information that the word "see" wants to reveal is the relationship between the feeling at that time and the present or here and now. The painter recorded or archived his feelings in this book through a descriptive technique. Today we look back at the book, and feel that all kinds of feelings at the time or something can be called a involuntary memory have been going on throughout the painter's painting. The painter was influenced by the work of his classmates and teachers, by the famous black and white photographs with the documentary role, such as The Picture of the Napalm Girl, the Saigon Execution in the Vietnam War, and Men Block of Tanks in the Tiananmen Square incident, and by the portrait photos of a large number of prisoners who were to be executed in the Khmer Rouge period in Cambodia. People were not indifferent to these things, and that is how they felt at that time. The memory will gradually blur as time goes on, but the feeling at that time is like a memory supplement. It is incomplete but more stubborn than anything else, which is what time can't scour, and even it has the function of preservation, which reflects an internal time - existent experience.

    The series of landscapes and Chinese paintings drawn in 2003, as well as those small size paintings, Degraded Species, 2030 Species, Mixture Species series show an impossible world. Li Tianbing seems to be obsessed with the concept of "invasion", especially the paradox of the concept itself. In Li's paintings, there is an "anti-nature", the "nature" here is more precisely a mindset of people, or a kind of nature that doesn't have any changes or creates. In the painting, the painter himself seems to be constantly optimistic about artificial objects; furthermore, the painter seeks to find a way to separate artificial objects from its own heavy sphere and make these artificial objects into some microcosmic sketch images with humorous nature. The artist believes that starting from himself, he could distinguish the true understanding from the pessimistic and quantitative experiences in real life. He also believes that there is an intermediate object that connects this asymmetry and disequilibrium together, and serves as a bridge and medium to make people see things that are invisible. For example, Landscape No. One drawn with the hair in 2003, a UFO appears in a Chinese landscape painting and the painting inscriptions and part of the picture seem to be interfered by a foreign object and become blurred. In Landscape No. 2, two images like open wound respectively makes the mountain image in the front become thick or extend forward, with the background uplift in the rear or the occurrence of a fold phenomenon, that is, making the whole background move backwards. Invasion or destruction is always dual, it is difficult to tell who was invading and destroying. It allows us to see an intermediate level, and the deformation is closely related to this intermediate level. Here, the painter's experiments and explorations are like swinging between antidote and poison, it's like continuing the Romano-style exploration in the painting. When Romeo found the poison seller in Mantua street and took the poison from his hand, he said, "I sell thee poison; thou hast sold me none." What is to be expressed is the visualization of the poison that is the exchange itself, the things which no longer produce anything. The poison of the seller is the product and also the result of labor, but it is not the one to cause death. The one leading to death is the paradox of capitalism or transcendence, that is, as Marx said, abstract human wealth buys universal labor of mankind.

    The four-pieces painting Black Hole also drawn in 2003 further expresses this feeling. For a potential cube, or a device that receives a signal, attraction always occurs on the surface of the crystal, which is a box or the body containing the desire and is marked here. Thus the product is constantly output and becomes a real thing. This is the product of aesthetics, also the product of face. If the desire of the images under the paintbrush of Bacon escapes from the places similar to circle like the washbasin or umbrella, the images drawn by Li Tianbing also make the similar efforts. In the paintings, there are no directly observable places to escape, but there are wandering or moving bodies and the body itself is making an effort to create the space for itself. The deformation is done in itself, making itself a relative thing, but without any reference.

    Little Chinese Flower-and-Bird Paintings series shows a power of convolution; an image of paradox is formed between the static force of the inorganic and dynamic of the organic, so that an ecological state of chaos is presented. The seemingly plant objects have the animal flesh-like color and everything seems to go beyond the realm and boundaries of their own and becomes eccentric and demonized. Like the ghost images in Strange Tales of Liaozhai written by Pu Songling of the Qing Dynasty, these ghosts images are mixed with people's images or make people's images into images in pairs, people are known through a pure vision. The images painted by Li Tianbing are similar to the ghosts in the novel of Pu Songling, which are mixed with the adult eroticism and children's violence. However, two kinds of things should be distinguished. One is the image of intercourse and the other is the mixture of visualization. There is a common truth about eroticism and violence and the same boundaries that they belong to. The facts and boundaries should be analyzed respectively. The former is run through by relying on the strength but does not spread the power. Differences make the heterogeneous combinations possible and play a kind of preserving function. The latter is experienced in a continuous, unified concept of time and can be converted into each other. Such as children's desire for adult pornography and family little secrets; on the other hand, adult's violence and naivety are like a child treating his toys.

    From the composition of Chinese little flower-and-bird painting, it is a small painting which is like a moment of emotion or a moment of construction. Nine pieces of small paintings are combined into a thing similar to device. The permutation and arrangement of this sequence maps the structure of the calligraphy field, Jiugongge. It's a square and a round double structure, or it's a special kind of profile. Jiugongge is a kind of structure, a constructed circle and an expanded square, a changed abstract or an abstract to deny the abstraction. Sometimes the circle is denoted in the square expansion, sometimes on the contrary, the square is framed by the circular hierarchy, which is an alternating phenomenon between the circle and the square. Jiugongge is similar to a national device, and the beginning of the writing of Chinese calligraphers starts from confronting this structure. Ouyang Xun, the great calligrapher of the Tang Dynasty may be the first person to put forward this structural theory in calligraphy. Jiugongge is a transcendental mapping of the plane, like a pre-existing data or an imperialist thing. The power of Li Tianbing's painting is on the things that precede painting, and this power makes a variety of changes between seeing and hearing, such as the yelling in Bacon's painting said by Gilles Deleuze, is it auditory or visual? Painting and calligraphy confront against the device. We can trace it to the history of Chinese calligraphy.

    The ancient Chinese calligraphy precedent may have been created in the Qin Dynasty, the inner meaning of this precedent is to confront a kind of original square - round geometry and the worship of sequence brought by the empire and the aesthetics of the empire. Unified currency Circular Coin with a Square Hole, Towards One Chinese Characters and One Wheel Distance in Qin Dynasty all reflect a kind of aesthetics requirements. The key to this aesthetic is to visualize or equate the abstraction with this visualization. What visualized is the territory of the empire or the dominion. It is the former capital and also the restricted capital. The art of architecture reflects the movement of the image, the exterior and the connection. And the calligraphy art, on the other hand, is in a pre-existing aesthetic plane, the internal relationship between which and the writing and what people see are like a story that has never "been listened." What is the internal connection between Qin Great Wall, one of the oriental architectural wonders, and this "original" calligraphy? The connection of the building is deterritorialized because it is a bridge in itself, but every order of it under the rule of the Empire introduces territorialization. It is said that the Great Wall of China at that time had the function of defending the invasion of the northern nomads. However, this function or boundary only serves as a function to block the line of sight. From then on, people cannot see the outside world. This is the two sides of the wall: on the one hand, it functions as a connection; on the other hand, it is seen as an obstacle. Not only the outside part but also the inside part treats it as an obstacle. Therefore, the wall not only has a relationship with the war between visualization, reappearance and being visualized, being reproduced, but also mixes the nomadic and the settled. We can further see the struggle between the agriculture and the industry and the struggle between planting and spread. We see the horizontal alliances in the planting industry, the spread of ecological activities between plants, animals, and minerals, and the spread of seeds or roots in media and digitization—projections of transcendental world.

    In the Animal series, we see an image of an ancient thing, and the painter used black, white and grey to represent a kind of accumulated layered and thickened things. The turtle is doing an uplift and rising effort, which is very close to human beings. The characters also appear in the painting, and the characters are clear and readable. The painter further puts forward the problem of calligraphy and painting, which are difficult to distinguish but cannot be mixed, how the calligraphy and painting are combined? The characters are not only used to read but also to view. Such as the expansion of the characters and the nomadic movement, it is the inner movement of the turtle, the wild and primitive movements, which only belongs to the eyes. The accumulation of the turtle itself, such as the texture, brushwork, etc. brought by the paintbrush, becomes a relative movement, allowing the turtle to form a shape gradually.

    Chinese characters in Li Tianbing's paintings are like the flow of sand and wave, as well as a gust of wind. These are the new things brought by Li Tianbing, and the power of abstract concepts has been seen in the painting. Look, this concept becomes a sensational event. This is also the power of writing. The power is an uninterrupted continuity, animal-like traces of exploration, grass, hair, brushwork, etc., which are the desire to grow. The words make the image of the animal be seen. This is the animal of power, the animal heighten by words; this is the construction, accumulation, growth, and this is the light and also the internal time. At the same time, the space itself is no longer calculated, infinite and abstract, but becomes the illuminated, a roundtrip and measured. Seeing is not acting on the audience's retina, but a vibration that resonates with the optic nerve. Reflection or mirroring does create an “illusion” on the retina, like a beast attached to a person’s body. This illusion is also considered to be biological or essential. So resource sharing is impossible, or it can only exist in a fictional form, dialectical or reproducible. People try to find a way out of fiction, but every time the way out is blocked in advance. The artist Li Tianbing sees the importance or duality of the fiction. It should be seen that the common fiction between the people and the art is no longer a fictional reproduction as the boundaries, but as a supplement and a common fact.

    In the Mushroom Cloud series we see a mixed world, even the world is mixed. It feels like it resembles everything or the resemblance itself is double-sided, a world combined by artificial and natural objects, beneficial and harmful objects, clean and dirty objects and so on.  Because the "resemblance" only exists in some common things, the painters has created conditions for later paintings that put landscapes and portraits in juxtaposition. Parallel, juxtaposed, and heterogeneous are the uniqueness of the hybrid. This uniqueness is distinct from the dialectical mixture, that's the purest is also the chaos. This heterogeneous combination or mixture retains discrepancy and difference.

    For the painter, the painting has to be separated from a heavy responsibility, a narration and a kind of indirectness. If something can be seen directly and can produce some influence, this is happiness. Beyond that, painting seeks nothing. So the painter is like a child playing the game, and the child fears to be plunged into darkness, so he tries to keep escaping, even if the way to escape is intermittent. There is a sense of the present as an autobiographical novel in which childhood or memories become a form of drawing the past or a universal realization of things in children into the future, seeing it only in the transformation or in the children with the image of violence and fracture. This image is similar: one is the children's toy world, and another is the battlefield of adults. The generated image of children is similar to naivety, but it is only similar.

    Li Tianbing has made a diagnosis for his nation and is worried about this nation. He is rather calling the nation in the future than worried about the future of the nation. Art is not designed to plan the future for an existing thing. It only calls for the nation of the future, because the nation cannot be absent when we talk about it. In the painter's view, the presence of this nation is in the "past", the nation in the "future" should also be present so that the nation has its past and future and not just present (the empty moment). Chinese people is such a pair of image, the image of vertical top-down tree-shaped great dictator, and the image of transverse micro fungi breeding groups, even the image of the Chinese who desires democracy, conducts production and makes wealth appears to be so detestable and harmful.

    The phenomenon of stratification, accumulation and the uninhabited has long appeared in Li Tianbing's paintings. The desertification of the world, perhaps we see the most active molecules in the garbage, or what we see is the empire of a bacterium. The vast majority of the rubbish belongs to the diet and fast food, belongs to medical and hygienic, belongs to psychology and paradox. For the health, hygiene and safety requirements, a large number of products are produced for human services, and the outcome of these products is to accumulate or be recycled in order to get back to people's demands. But what state are they in when they are not recycled, and are they still in the category of health, sanitation and safety? Meanwhile, we can watch the film recording works produced by the artist and photographer Wang Jiuliang: Beijing Besieged by Waste and Plastic China. In Plastic China, we see a variety of flow movement, the logistics, money flow, water flow and airflow, etc. Businessmen asked to obtain the maximum profit, the Chinese people gave the highest price. For this reason, tens of thousands of tons of living waste from various developed countries have been shipped to China every once in a while and take root in small processing plants in some rural areas in Shandong Province; villagers are selecting the garbage to earn their wealth, the greater the desire to earn their wealth and the increasing number of garbage imported, the villagers already live on the mountain of garbage.Cultivated land, agriculture and livestock, river water are gradually left uncultivated caused by pollution. The place where people can live is slowly becoming barren.

    The desire generated by capital or power within our heart is the same as the rat, cockroaches, parasites, fungi, and even the inorganic matter that we breed in the household garbage. If it were not born to be women, children, animals and plants, it is difficult to perceive it and difficult to see the same oppression on these things, and how they live. It is not wrong to find wealth in the garbage, but such kind of wealth can be called as wealth only in exchange as the process. Here wealth as recyclable is available for purchase, and recycle is the rest itself. Recyclable ideas that are always envisaged to solve a fear of space being occupied, drive away and remove those unclean things and drive away those ominous and deceptive things. Recycle presupposes an abstract form of labor. The workers are recycling and there is no other recycling things at all. Things don't exist before this presupposition. Exchange value is a form of coding, wrapped the organization shell of value and the possibility, life is full of re-use but without the usable things, which is like the unobservable side of people.

    In the Mushroom Cloud II of Li Tianbing, we see two interactive images, blue fog-like background and mushroom clouds. The former at any time is the universe inherently reflects the infinite possibility rather than a relative moveable plane of the capital, while the latter may become a probe, a nerve dendrites, a body that sends information to the universe. Mushroom cloud is the junkman and dauntless in the image, information, and desires. He is not a heroic image, but an ignorant child, such as those in the film that take medical waste, needles, and gloves as toys.

    These three series of paintings of Li Tianbing should be analyzed at the same time, Workers series, Children series and Brothers series. The key issue in these series is the mixing, mixed phenomenon. Li Tianbing always understands himself in the mixing. The appearance of this mixture is the first thing to be saved in the painting, but also the things that the painting faces and thinks. For the painters, knowing themselves is also the process to think about a question that what painting can bring, why do people still need paintings today? In French society, Li Tianbing saw the phenomenon of mixed dwelling of different races and world migration. Fundamentally, immigrants are cosmopolitan and related to a certain world. People from other countries rebuilt territory in France, and the flow of population indicates a direction, the flow from the lower classes to the high classes, the desire to lead people to a certain advantage. There is an advantage of European nation relative to other nations, precisely because it is relative, so it is possible to pursue and compete, and people are moving for this "possibility". The painter places the possible world on the plane of the painting, allowing a character or an image to act on this plane. For example, migrant workers in China are mixed phenomenon, more than 200 million farmers poured into the unceasingly centralized city brought by the capitalism and nationalism. Farmers immigrate to the city and become workers, thus becoming a mixture of farmer and worker. This mixture itself is the reproduction of something, and it is why it claims that itself is the liberation, the liberation of productive forces. It should be clear that this thing wants to get a denial (theology) or power. Just as the French society mixes world migrants, it also claims to be a democratic society or an open society. If the migrant workers desire to wealth, it is not wrong. But this desire does not come from migrant workers, but from capitalism. In Li Tianbing's Workers Series, we saw the migrant workers in the desire. The unintentional image in the desire creates the real wealth, but becomes the surplus value in the exchange, that is, the common value of this belonging to the building - the living is in a private form of family. Demeure is a French word that has two meanings. One side is residence, the other is delay and tomb, which is completely in line with the image of capital. Capital is the flow and the end and solidification of the flow. Capital makes everything relativization, and makes all relative and absolute impossible.

    Li Tianbing's paints always convey such a message, and sometimes we must start from the image cooperated with the capital, and start from the solidified, slow and dead image, in order to make the image visible and make the remaining part be revealed. The latest paintings of Li Tianbing are all related to this Gospel, and the techniques of creation are more sophisticated and refined, and more direct and powerful. For example, those mass media paintings about the news, newspapers, screens and so on are paintings that relate to people and life, it seems that everything is in the third party or othering. But the things to be seen by "the others" are very few. We will make a detailed analysis on the paintings below.

    The migrant worker in the desire is different from the desire of the migrant worker, the former is a heterogeneous combination and the latter only belongs to the category of imagination. The migrant workers face the displaced movement brought by capital, which is consistent with the transcendental law and framework of painting or calligraphy that a painter faces during the painting. It seems that painting and writing are all guilty of breaking the law during the creation process. It is not easy to make people see this image by painting because the image here is different from the visual reproduction which is only the shadow; the image is fresh and vivid and that is because the light - time and color - space. In the Workers series, the geometry strip web things are like fireworks and lightning that illuminate the image behind it, or it makes this image move a step forward. The creation of this aesthetic character of migrant workers combines elements of Chinese culture with elements of Western culture, such as traditional Chinese farming culture, pastoral culture and ancient Greek city and city-state culture. Urban and rural areas are not diametrically opposed, the internal extension of the city is not just nomadic, and the rural inner building is not just imperial style. Countryside - city is an outstanding picture in the image of modern industrial city, while drawing a picture in the surface of pastoral image. The countryside is not the decoration of the city, no longer becomes affiliated to the city's aesthetics; similarly, the city is no longer the invader of the countryside. The stroke painted on the countryside breaks its face so that an alliance returns to the countryside.

    In Li Tianbing's paintings, those quietly standing or sitting migrant worker images have made some exploratory efforts. This intense movement is felt, and the image of the migrant worker is like a meteor that escapes the gaze of people. It does not belong to organization or planning. He only draws the common facts between the two, not just the uncrossable line between the countryside and the city.

    The children in the paintings of Li Tianbing, this lonely image is taken from the orphan photos of the orphanage. The painter said he was deeply touched by the loneliness of these children, the loneliness of the orphans is because they lost their homes and loved ones, similar to immigrants, they were eager for homeland or habitation. This loneliness affects Li Tianbing and goes deeply into his childhood. When the painter said his childhood was lonely, it was a vague memory or the feeling of the time. Due to the only child policy, the painter's childhood was also very lonely, which is similar to orphan's loneliness. Loneliness is a fact for the painter, a common fact of one generation; loneliness can produce resonance, which is the resonance of a generation. Loneliness is a form of breakthrough, and loneliness here is definitely not a problem of memory; whether it is individual or collective, it only serves as an absolute experienced and irreplaceable feeling. Li Tianbing's paintings create a place for this feeling, so that it can be presented. Loneliness no longer stays within the confines of memory, like an autistic child. Even in the memory of the individual, loneliness is still a boundary among completely individualized things.

    The possibility or resonance of production is not something that is completely individualized. It is not the memories of the painter's childhood that really have an impact, but the likeness in loneliness. The loneliness (that's the memory), as a boundary, connects the social part with the family and forms a theological system of the family. When loneliness (memory) is biased towards the family, the society will desire the loneliness (As the moral concept of socialism reappears, this top-down socialism can be called moral socialism, from which we can see that the problem of loneliness is a problem of representation. Being alone for the replacement is a kind of comical tragedy, which continues to make its own reason for existence.). When the outside immigrants who desire to live in as their homeland and work hard for their living territory, a form of society will suppress it. For example, in China, the government controls the real estate. First of all, this form of society aims at the capital, but the capital is difficult to separate with the former, so the society has to carry out the security management in the management of capital. This governance is complicit in the operation of capital, and the resistance it encounters in intercepting or diversion is these poor people. Second, the capitalist society is not only an exploitative society, but it creates the rights of the exploited, which is the collusion between the capital and the power. The more the capital flows, the more the exploiters desire to keep it, but the more he will have nothing.

    The painter notices that these poor people as both the object of social repression and the object of capital exploitation, and they suffer a double bondage. This image is the aesthetic image of capital and power - the surplus value. This image should be seen because the image of loneliness creates wealth. The loneliness is related to the labor and the social expression of the group. It is a progressive relationship from the Worker series to Children series. The social expression of desire is constantly strengthened, which questions the family's private and social level things that purely belong to bureaucratic technology category.

    In the paintings, Li Tianbing highlights this pair of things, children's desire and the children in the desire. The former desires to growing reproductive ability, this desire comes from the adults, from the parents, from the Confucian classics or wisdom. In the Media Children series, those Chinese characters written on the children's faces are choreographed as textile knitted by warp and weft, which is the children's encoding and mark. There are also some super coding conjoined words, which are completely abstract lines. But it seems that the weaving is disturbed by something, and we see the ink appearing in the painting, like the ablation or burning of words. The network of words is destroyed or there are some holes, and it seems that something is only seen through the hole. At the same time, the character itself is also deformed into a line with concentration, it is thick or thin, and it is also the lines with thickness; for example, it can be bent or curled up, which is the line of exploration and the line of animals. It is the face that is broken and the body is seen, the body is always connected with the landscape. These words form the image of the world map, but also an invisible landscape. The body is seen because of the color, and the color is in the body and not in the air; ink is divided into different levels by feeling, so ink is not a single color, but a composite color with different levels.

    The year 2007 is a turning point in the creation process of Li Tianbing. The painter promotes the fiction itself to a high-point; the painter fables his little brother, the emergence of the little brother as a lonely incarnation is the feeling breakthrough and the body reaction. In this micro-social field, being touched is the resonance of all kinds of emotions, the twinkle of the universe and the stars. Whether the feelings of childhood can be inspired by painting, as a feeling of the time rather than a memory. The possibility of this excitement will show a synchronicity, a double synchronicity, a synchronicity as an individual's experience, that is, the self can feel that he is both a child and an adult. The other is non-self, non-experience, non-knowledgeable movement which allows society to escape from a purely technical control.

    The loneliness of childhood, the lack of images, which is not only the memory of the individual but also the collective memory of the same generation. The one-child policy in the 1980s created a picture of Chinese families without siblings. Four or five old photos of childhood have become the material for the painter's creation. Li Tianbing has called his painting as a complement to the family album, which does not mean that the painter calls for the future people to rebuild the territory in the family, but that the lack of people who rebuild the territory, the lack of people who are free from capital and out of power and wisdom. The people of the future are people who have nothing to rely on. Reconstructing the territory is related to living, and living is only related to nature rather than to the family, not in connection with ownership, even more not in connection with human rights. On the contrary, family, ownership and even human rights are only attached to the form of habitation. Once people make it upside down, living is not built on the earth but is based on nothingness. Even the earth is also in motion, living is not changeless.

    In An Album Found - Interview with Li Tianbing, the painter mentioned that: "I was attempting to find the key of moving to the depth of three dimensions. In my effort of further exploration, I thought of my childhood, which includes countless memories and feelings of my own, but it is somewhat mysterious and remote in time. That is why it improves my potential of imagination. Before, I focused on studying different styles. But this series emphasizes more personal factors, on which I explored my emotions." It is not wrong for the artist to emphasize the self and the individual, but the purpose is only to retreat into it, and from this point of view, the artist is not different from everyone else. Here "I" is no longer a self but a necessity, everyone can call me, just as the artist still paints with lines and inevitably draws lines. As long as the artist is within the people, the people take a common pace with the artist.

    In the painting Baizitu, Li Tianbing connected a war machine to the Chinese social background of the 1980s. In the political context of the one-child policy, the Baizi, which originally implied the meaning of the more sons, the more blessings, and flourishing and the prosperous in the folk, has evolved into a result of a social compulsion or control. These hundred children have a dialectical nature, the state creates an internal competitive environment for children, and also shapes the same kind of children which is the power that acts on children, and this power is driven by its sociality. When people do not give way to children in desire, it will exacerbate the outbreak of the desire of children, that is, power continues to reappear in children, a phenomenon that has been studied in sociology. The only child in China is called the little emperor of the family. However, the image of this tyrant does not originate from the children themselves.

    In Baizitu, all the children are lined up, and each portrait of a child is like a window, through which the image of the imprisoned child can be seen. Each portrait of a child is also encoded, arranged in sequence, and the objects that hold them together are abstract and invisible, which is the structure of the state device, the organization, the mesh. Modern countries, for example, are constantly integrating their ethnic groups in language , and mandarin promotion is a form of such integration. And even we should think about the thing that we call it mother tongue, what is the relationship between it and the local dialect? Mother tongue is like a vague zone between Mandarin and local dialects. When we say no "dialect", we deny the Mandarin or the country's political control, and we affirm that the mother tongue is the language flow that is formed around the area. Sometimes we negate the "native tongue", that is, the abstract and universal origin language. This language constantly absorbs "foreign" vocabulary and enriches itself, and mutual or location change is the most familiar for it. The mother tongue is something vague, or the local has no language.

    The paintings of Li Tianbing repeats the state apparatus in the form of a collective statement that Foucault said, or the image of the configuration in which Deleuze & Guattari had described. Or the painter himself will be imprisoned in the device; Children - art or children generated by the artist, this is the Kafka type hungry artist; he imprisoned himself only to let some subtle things be seen, and he created the prerequisites for a certain possibility. The reticular structure is the double bondage, the collective and the individual are kept inside, the individual is a member of the collective and the collective is the group of the individualization or the collective belonging to one thing. Education, which is maintained by the state, constantly connects children with one spirit, children - people, children grow out of the relationship with nature, which is to prevent the lateral development of a children's alliance. Education is divorced from its essence, its underlying soil. The state creates a completely abstract environment for the same kind of children, which is consistent with the relative movement of capital out of the territory, and the internal competitive relations always cut off the real connection with the outside world.

    The Brothers series have an inherent close relationship with the Monkey series created in 2014. It is in the homininae animal or primate that there is a similar manifestation, disengage the front paws from the territory and change it into the arms and rebuild the territory on the use of tools. A brother is the expression form of the union society or society group. There is an alliance between children and animal, plant and molecules, which is difficult for the alliance or the outside to perceive. In the Monkeys in Space, the monkeys are isolated, so that it is difficult to distinguish the monkeys are within the space or out of the space, and even monkeys themselves also reproduce the space. In a human construction space and living space, there is still other spaces which appear in the form of color. In the Lonely Monkey in the Space, the image of the monkey is making efforts for breaking away from the tree trunk. But there is a silk entanglement between the two. There are white silk threads between the trunk and lonely monkey body, as if the tree is tightly clinging to the lonely monkey, and give the monkey a space like cage. Although the lonely monkey does not move, it feels that some unknown force had passed through the body of the monkey. And those sprayed red are like blood, and the lonely monkey leans forward to make a state that it will jump or fall from the tree. For Li Tianbing, there is movement all the time, there must not be no reaction. Those extracted forms are the understanding on body, movement, war, disaster and response. We feel that Li Tianbing's works is interlinked to the works of his teacher Vélickovic, and even that connection has already exceeded the inheritance of teacher and student, it is the feeling that dictates.

    The relationship between the brothers, friends, partners and children is not exclusive to children – people. In Me and Monkey on the Hammock, we see the image of a monkey and the image of a child sitting at each end of the hammock, the two sit still but they are irrelevant. It seems that both of them are waiting for something. But the space with tight structure seems to be a museum, a glass show window. Eroticism and violence in space always desire to show something. However, keep in delaying in the reverberation of discourse or in the reproduction of the signifier, discourse will be stranded, such as what is this and what is that, and guide the behavior of people. However, look does not want to show anything, look is a kind of link and does not suspend something, especially through the crystal. The imaging function of the crystal is opposite to the image itself. It is difficult to understand why transparency creates a panorama and creates a plane, but the relationship between images always tries to break through the plane. Li Tianbing has clearly seen that the crystal was still part of the movement of the masses. The thickness of the crystal should be seen; the things at both ends of crystal should be seen; the crystal is a double outline. If you can't see this double motion, or molecular motion in the crystal, it cannot achieve the slightest effect even if the crystal is broken. Hammock image is a kind of crystal, it is mixed with the textile, sticky and other methods. Hammock is like the image of a fixed mass movement. The people called by the artist are not the people using methods, or the people who are out of the way. They maintain the sensitivity of animals, not purely transparent or abstract, but mixed or in the middle.

    We see a tiny lines passing through the image of the monkey and the image of the child, these lines have a direct connection with the hammock, and in the space, roots of the plant have spread from top to bottom, trying to climb on these lines and control these lines. It tries to make the image become a puppet. However, this rootstock not rooted in the land is the symbolic image of the ideology, which is another meaning of the fiction said by Li Tianbing. The things that does not exist actually should also be seen, even if this image is symbolic. The painter sometimes has to make up a visible shadow for this thing, to make the shadow be with the body. The fiction here is not an artist's will, but a must. Even the ideology is nothing but a fictional content of this form.

    We have said that the painting of Li Tianbing has always conveyed a message or Gospel, which is about the future citizens or what Li Tianbing called his nation's information, the painter has never stop calling his people. Starting with Reading Newspaper or Underwater Self-portrait in 2015, it seems that the painter has entered a new experimental site. Sink, sink ceaselessly, dig deeper and deeper, more and more lonely. Just as the image in the Underwater Self-portrait is like the abandoned temple or the remains of the seabed, he is surrounded or enveloped by seawater, and is also surrounded by sensitive blue or infinity. The image also struggles to move towards the things that surround him, and the image also conveys that he has had a journey to explore even he is sitting. Isolation is a kind of violence against oneself in order to become something or an image or information that is seen. In Chucheng series, we see that there is a movement of the original material, a pure rhythm, according to the different feeling, that is, the different relationship between the feeling and the rhythm, it can be a dyeing-machine, it gives all the material color; it also can be a sound - machine, which combines the arrangement of materials. Rhythm is like air (dense) in Chinese aesthetics, artistic concept and audio (god sound) . This material is like a painting pigment in the painting, as if the material could enter other fields. The material presented a color - space or the image of the city of desire. The snow ape in the painting marked the territory, bringing a refreshing feeling. People are not in this scene, but the absence of people or the absence of the audience is not easy. It seems that you must see the boundary, and you must form an alliance. Zao Wou-ki's abstract expressionism painting, for instance, has experienced a long-term study of Klee's painting, placing Klee's children union in a new painting plane, treating  them as symbols, the sound symbols which can send out voice. Let the Chinese pastoral painting has one more brushstroke, not on it but under it, those who are extracted and returned from the ground to the pastoral things make the pastoral have vitality. Meanwhile, they also add new colors to the universe-city. People are not in the scene but already integrated into the scene, people become a round-trip movement.

    The things that the landscape painting wants to express are never separated from the portrait. The landscape is not only the subject of a painting. In Li Tianbing's Memory series, we saw the juxtaposition of landscape and portrait. We feel that power is oozing from different places and there are various spatial expansions, in which exist the undistinguishing sounds and colors, and the flow of time or the movement of material. Li Tianbing has always been an idyllic painter. This is not a conclusion, but because of his special nature, or because of the ethnic group said by himself. By painting one "more" stroke in this Chinese idyllic or landscape paintings, Li Tianbing has achieved as what his predecessor Zao Wouki did. But it is different in lines and colors, for example, Zao Wouki – Paul Klee, Li Tianbing – Francis Bacon. The Western generates the Eastern Chinese people, which are a cluster or an abstract image, mixed with the symbol of ink and difficult to distinguish. But in Li Tianbing's paintings, when the Chinese people's image enters in a new kind of color relationship, everything is so clear and accurate.

    Li Tianbing's latest paintings are about the portrait or landscape of the era which is covered by the information technology or the digital. And the landscape is not the same as what you see in the picture, and what you see in the picture is more like the era itself. The painter ponders how to draw the power that people see on a technical plane, which is like an invisible mark placed on people. The painter associates the self with the result of the technique and sees it as a shadow. In the creation, the artist chose some digital photos circulating on the internet as materials, such as Open Plunder, Confrontation, Mistress series and so on. These are the images that enter into the camera, and they are captured and presented in a frame. However, the technical plane is not enough to show those hidden power, which is task painting assigns to its own. An aesthetic plane or painting's plane is applied to express and record the real process of things, so that something is seen, Li Tianbing calls his painting technique freeze-frame. This freeze-frame is as the vision stagnated in the time and space said by Giacometti, that is, style . The landscape is often associated with streets which are not existing or visible, since the streets cannot be separated from an atmosphere, movement, or feeling. Open Plunder, Confrontation, Mistress all reflect the special relationship between hands and eyes. The materials of these paintings are from digital photos, which kept the feeling of the time, and the encounter always occurred in a fictional place rather than a reproduction place, which is the image of the street. The street has an atmosphere that is no longer expressed in words. Events and symbols are in the picture.

    The sculptures of Giacometti are also linked to the streets, such as Walking Man in 1960. Even those half-body sculptures or the heads in the sketch are making an exploration effort. Jean Genet has a strong feeling when watching the works of Giacometti. He wrote:" So, my fingers repeated the work done by Giacometti's  fingers. They looked for a prop in the wet plaster and earth, and my fingers were sure to return to their tracks. Finally! My hand is alive and sees it." At this point, whether we can treat Jean Genet's finger repetition as a portrait of an artist painted by Jean Genet for Giacometti, only that he resembles himself.

    Both hands and eyes are lonely, and they do not necessarily have to be in a subordinate relationship, in which they form a common fact, hand generating eye and eye generating hand. From this point of view, the vision of the animal has a kind of supplement to the sense of touch, which is beyond the perception of a person, and the blind may feel a little deeper. Conversely, can people benefit from it? It's not easy, and maybe the animals will become something else instead of the animals we see.

    Li Tianbing's paintings always have a field, in which we see the entanglement between humans and animals, and there is a confrontation and futunio between humans and animals. Confrontation cannot be simply considered to be the reproduction of violence, and likewise, the futunio is not a hint of pornography. Because of the phenomenon of mixing, sometimes people can't figure out which belong to animals and which belong to people.

    The visualization exists due to the image itself. For instance, in Mistress series, those female body images of the perpetrator or victims, the hands seizing the hair and head; in Confrontation series, those images who gather in the streets and the raised hands. In Open Plunder, the markings on the faces of the characters are like traces of animals. The finger joints of the man over the left hand-side have been pierced from the hands, the hand has been like a claw or monkey's forepaw, feeling like an animal-like underground surging. It feels that the communicated color not only sends out from the folds of people's clothes, but also appears on people's faces. This feeling has been traced back to those self-portraits with the trademark painted by Li Tianbing in the student era, the lines that are pasted with images of traditional Chinese physiognomy. The freeze-frame said by Li Tianbing is like capturing the generation from all angles. The falling dollar almost becomes a white short hard line or death line, and at its edge there is a dazzling blue or purple light, as if the dollar is burning or wealth must go through a catastrophe. Now the eyes are stinging, we feel the speed that the vision cannot catch up with.

    At the bottom left of the painting, the two women's facial smiles and the whole picture are pulled apart, they are isolated, and they are reluctant to leave, thus having a sense of transition.

    The images in Mistress series, there is a representation of duality, such as the people involved and the onlookers. When the painters draw these images, they must have a visualization, which is like a congenital, that is, the painter is fight against it, the aesthetic image is against a narrative, that is, the story occurring in the painting. A story must be inserted between the representations of duality. The perpetrator and the victim, the active and the passive, the party involved and the outsider, etc. The aesthetic image is an isolated image, there is indeed a certain power in this image to deform the image or make the image do some action, but it cannot be regarded as a kind of external force, that it suffers from violence. On the contrary, the confrontation of the image is only reflected in the action it has made, and the image of the woman sitting on the ground shows no sign of resistance or struggle, but to make a movement, a gymnast's movement. Confrontation is a static and lasting cause. The image is to sit down and even lie down in order to confront a family-style social morality trial. For example, a yellow anti-slip warning sign is inserted between the images of two women who are in contact with the body of each other; yellow in modern Chinese symbolizes pornography, and black is a symbol of violence. This is a kind of social moral judgment, which is a symbolic thing and also the narrative itself, the judgment or punishment itself is the repetition of such violence or pornography. As Foucault saw, punishment was the execution of the crimes he had committed on one person. A warning sign is a linguistic sign that does not have the function of implication, instead, it is an instruction. When the painter is dealing with the image of the sitting woman, her hair on head has been dealt with, showing a different black. The part of the hair that the hand is close to is slightly gray, as if the hand was placed on a rock. The painter does consciously avoid the same symbolic contact with the hand, but it is the painter's feeling to clarify something.

    After the violent hand, there has to be a mediating hand. The hand is always used as a tool, but in fact it sits idle because the inserted hand is completely a form, a filler, an empty shell. The surplus value or the capital said by Marx separates the laborer from the labor tool, the premise is to leave one hand idle because the hand does not have the functionality of generating other things. The tool function of the human hand is attached to the hair or aesthetic, face, memory, housekeeping, capital and so on. Aesthetic figures are similar to the special heterogeneous combinations of Kafka's novels: sisters - maids – prostitutes. The violence of feeling is a revolutionary red against the nothingness of the yellow; a pair of female futunio images, that is sisters, no longer reproduce pornography - violent allegations. This style, also known as the maids service for the picture, makes the picture a tragic or dramatic picture. All the things that blur the boundaries between the animals and human, plants and human, inorganic and human blur the sex, order and domination, that is, the prostitutes, and truly establish a monumental artor arch.

    In Open Plunder, Confrontation series, Mistress series, we have found the deformation of the hand and the relationship between the hands and animals. For example, in Mistress No. 1, the hand that pulls the hair is almost a pig or a cow's hoof, and the hand pulling the violent woman or the mediating hand becomes a duck's webbed palm. In Confrontation No. 1, the hand is even simplified, precisely because it is already a superfluous thing, an empty shell, it is simplified as a finger. The French word digitale has the double meaning of fingers and number code. The Latin for digitale is digitalis which means (who) has a finger thickness or depth, which is a measurement unit; its derived word digitus means the finger, (who) count with the finger. The artist's image appears in the painting, and the deformation of the finger makes the hand close to chela of the crab or langoustine. The hand itself is a double bondage. And the finger is like the incarnation of the entire language symbol system, a digital finger pointing to "something" ça, or comme ça! Like this! From the technical field, digit always relies on modeling or imitation to understand things, that is, testify through the reproduction of the image. Humans therefore go to the court of "God" and have been tried and testified. Ça is also a psychoanalytic term used to refer to the unconscious itself. By analyzing people's behavior, an anthropomorphized model of discourse has been established for people. Psychoanalysis does discover the close relationship between desire and children, but it constantly pushes it to the memory of childhood, mother and father, family environment, Oedipus complex. It seems that people need to maintain themselves by the transformation between children-people. Life itself becomes taboo. And especially the things of real social aspects, the relationship between children and nature, the relationship between children and real education, psychoanalysis is completely ignored. For example, the masse who occupy the block in the confrontation, between the two buildings, in the gap between all the connections, can the desire be reduced to the death impulse? Whose death? The argument that simply says the masses and the rebels have brought the violence and death, completely does not see the problem. What people see is a reappearance of violence, but the power that acts on people is invisible. Aesthetic character is the fictional character close to the Gandhi-style, the image of which is able to sit down and can accept death. Acceptance is not a compromise or an aid to death, but an effort to create the condition for "resist death and slavery, resist the intolerable, resist the shame, resist today". People should have an inescapable inner plane or aesthetics plane in order to open to the outside. This is the information conveyed in Li Tianbing's paintings, a profound expression which has been carried out in Reading Newspaper, Raise a Card, People's Daily and so on. This is the message to convey for the future people. Real wealth, architecture and living, creation of life, how everything is closely linked with nature. Social problems, ecological problems, technical problems are unified and inseparable.

    In People's Daily No. 2 drawn in 2016, there are multiple blurred or ambiguous images, such as a penetrating light is filled with space and showing the state of molecules or particles, or this is the back of a far away person. The strength through the body of the child who is closest to us makes his hand a slight deformation, and the fingers are slightly stretched. It is even said that the touch is not just the function of the finger, the feeling makes it to be a moment and makes it have a visual function. It also makes us see the sudden color as experienced a beating or cleaning after the eyes are defeated. Children seem to have wings and change into phoenix or invisible firebirds; and the color of painting can arouse people's enthusiasm just as the color of literature.

    In the People's Daily, we seem to see Bacon's "shadow" or non-Bacon Bacon, or what we called Bacon is just a feeling (memory). Why is it that flat painting purple and yellow as well as those weed-like strokes can produce this feeling? The things that are preserved in Bacon's paintings resonate with the things that Li Tianbing's paintings represent, and these are not diachronic but simultaneous. We can say that something is fresh and alive at the moment.

    There is some flow or potentials under the tree structures and network structure in Branch Playing series and In the Red. The potential world or thickness, the children are playing there vibrantly. And children are always active in such places, the junction of buildings, between the two buildings that looking at each other, the courtyard, and so on. The picture perspective of painting is also a mixed perspective, with an uneven longitudinal perspective of a large flat surface, and an infinite horizontal perspective of depth of field. This perspective also belongs to the perspective of architecture, the link between the buildings and the plates, these are blank and the feeling of the material. This agrees with the "blank" left in the Chinese painting. The concept of Qi is related to the aesthetic plane. Everything produces Qi, and Qi produces everything. There is an infinite possibility between Qi and everything. There is no pure concept of object but the changing objects or perceived things.

    The body of the children in Li Tianbing's painting shows a mixed feature, a gray scale is shown on the surface of the body, which is the inner color of the ink - the grey in different levels or the universe-grey point said by Klee. In Branch Playing No.2, blue is the expression of infinite, the universe, which is to be seen through the connection of the plate, as seen through the "Center of Sky" which is the another name of the yard. The yard is not a completely closed opening, but the falling place of aerolite. In the painting of In the Red, it is like in a volcano. Everything is surging and ready to go, like in a hot heart. However, feelings are expressed in a combinatorial way, and a blank, center of sky or yard is open to the world and universe. The yard is the territory of the child and there are children-gradual changes in this territory. In the Eastern or Western culture, the cours ou jardin should not be a subsidiary of the house.

    For the painter, there is always an animal's intrusion between the child and the man, and the animal opens up a new path in the child-man death boundaries that is seen. In the Studio Invaders, Kicking the Tiger, Climbing the Giraffe painted by Li Tianbing in 2017, it is as if people are introduced into a zoo, or the zoo is open to release the vitality. Vitality is found by Li Tianbing in the children and fascinates him. Vitality has the characteristics of integration, connection, aggregation and so on; it can pass through different levels, and itself is changeable and continuous. Vitality cannot be separated from children, children are also inseparable from the vitality. It is very difficult to show the vitality in the painting without the help of a graphic and a story. The material needs to be into the feeling and make the children become an image. That is, the children are the feeling and the vitality rather than a reproduction of children. For example, the children in Climbing the Giraffe seem to be all wrapped up by the stone slurry, with their thick clothes in layers. The ubiquitous little brother with a lime-like face is like an instinct. "Familiar" is no longer out of recognition, judgment, but out of speed, lightning, presence, which belongs to the future people.

    Not only in Studio Invaders, Kicking the Tiger, Climbing the Giraffe, even in the Branch Playing and People's Daily, we see some tree-like, branches, and reticular images extending into a certain field, or a white, curly, lightning-like or note-like line along the branches and stretched out. Bacon once said that the snaking lines in his own paintings appeared as a necessary catastrophe. Even this is like a philosopher who is forced to leave his hometown. Actually, particular care has been devoted to these seemingly disorganized lines. These lines drawn by the painter with the traditional Chinese writing brush, which is a reflection of Chinese calligraphy art. Because the lines cannot be casual, arbitrary, frivolous, it has to sink, sink in, as the perfect personality pursued by the painter or the calligrapher. The stress of lines reflects artistic conception, structure, that is lively and vivid.

    Li Tianbing’s painting brings a never-ending power, a combination of heterogeneous things or the action itself and it never worries where to go. People find the road from where it walks, which is no longer a road followed by people. People finally surprise that there's really...a kind of road between the destination and the road, and also before the destination and the road. The image of such a light body, soul, and loneliness has allowed tenacious life to exist.
      Li Tianbing's personal ontology revelation is: "I" is the passage of children. If "I" does not become the passage (as the capital passage of the process), "I" won't understand either the one (the destination or the road) nor understand the others (the road or the destination). The dread of daily life lies in its philosophization or politicalization-economicalization and its aestheticization, which is the imprisonment and reaction of life. The people desire to live, and life is towards ... but it is reconstructing territory in capitalism. It is shameful that this despicable act occupies half of the truth, that is, the unconscious people themselves. As long as the people are unconscious, there is "democracy" - there is no need for repression and there is no need for law and order.

    Li Tianbing gave up the "childhood" dream of being a diplomat, but chose to be a painter. This is a deviation and also a coincidence. The negotiation has been preserved as a common fact, that's why Li Tianbing's painting has a political significance.

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