Inside the ground district, people see and paint, the understanding is continuing, so is the memory, continues in great non-determinacy. From Yuanmingyuan to Song Village, during 20 years, the great upheaval of the cities and countries in China has shattered the scenery in memory into pieces; the construction of public sight on one hand make up the great narration of the era, on the other hand clean up the fresh details in our living memory step by step, thus it also makes the discrepancy between individuals indistinct. For sure, we are used to those imposing large sights from the lens of power; the ground district is building one by one, the scenery is changing little by little, and what leave to us is only watch in wander.

　　From vague memory to the realistic ground scenery, Li Tiejun continually to question the non-determinacy of image in the frame of painting, using contradictive expression to refuse mannered realism. I think he is an artist who expand his own experiencing field horizontally and also think vertically. Speaking of horizontal and vertical, it is also a choice between east and west, tradition and contemporary. Such kind of choice determines the view and judgment of the artist. We see that Chinese contemporary art which is synchronous with the reforming and opening up could no more provide the beauty making effect. It is only a humanistic realism record in the dramatic change of social situation, a file to prevent amnesia.

　　Either with the frustration in Yuanmingyuan or with the adventure of western world, the Village doesn’t care about where those people are from. Energy gathers continuously here. It is not only a base of “city bounded by countryside” in the new era, but also a new round aesthetic construction junction of time axis and space axis. I believe Li Tiejun, the artist full of energy, power and wisdom, has already determined his choice of value.

　　Bao Lin

　　Tsinghua Yuan

　　2009-08-15

【编辑：虹汐】