The paintings of Li Guanshuai smoothly slide between figuration and abstraction where the human figure is recognizable, yet it refuses to be fully seen as such, completely. In Guanshuai’s painting approach, the viewer is able to observe all these various levels of definition across faces, bodies, and gestures: some parts of a painting look like unfinished sketches, others are formed by powerful strokes or thick layers of paint, and the rest, when already detailed, lose their identity before they become fully revealed. In essence, this constant volatility in the degree of definition is an essential feature of this artist’s works.

Often, the portrayal of human bodies is to be rendered at unusual dimensions. For example, in certain works, a face appears disproportionately bigger compared to other smaller bodies and some details of forms located in the same pictorial area. Similarly, in some works one can also see how different forms seem to exist in one plane on a canvas, creating a painting langauge where the anatomical logic is remarkably blurred; it is not clear where one body ends and the other starts. The bodily proportions are subject to distortion so that they can expand or shrink, while some parts of pieces are reduced to lines, strokes or colorful marks. Nevertheless, despite such distortions, the final outcome of the portrayal stays distinct enough to make viewers identify a person, a head or a body and a gesture in the image.

words: yannis kostarias

The tension is particularly stark in the representation of his characters’ expression. Faces are often shown in various dense emotional states, such as furrowed brows, squinting eyes, and mouths between speech and grimacing that often seem puzzled, uncomfortable or distressed in some unique way though. One could argue these sort of expressions do not represent literal or real ways of communication in the traditional sense, but actually seem like underlying a creative dialogue between psychological communication and painting process; a face can look expressive even though its face is still disrupted by lines, colours, or unfinished pieces.

This inconsistency is undeniably uncanny and that triggers even more the viewer’s attention. While a humanoid figure is retained – it can also be portrayed theatrically emphasizing the gender fluidity of the artist’s figures. This poses a broader challenge to conventions surrounding gender expressions or other feeling that might come up. Instead of determining the body by means of traditional parameters of gender, age or individual identity, Guanshuai uses his figures as flexible visual form that can be variously modified. Therefore, one figure is able to imply various types of representation at the same time: sketches, paintings, abstractions and portraits.

Moreover, the use of color further enhances the overall ambiguity. The color palette can change noticeably from one work to another, shifting from deep gray, dull flesh to dark tones or even incorporating hues such as bright blue, orange, red. The significance of colour contrasts does not only lie in representation but also in function as well. Hence, the use of color becomes the key element helping the artist to execute his visualizations by separating different levels of pictorial definition.

What is especially interesting is the combination of control and incompleteness. The paintings of Guanshuai may appear not fully resolved because parts of them seem to be still in the process of development, but overall they are quite well organized. A sketch-like element might be juxtaposed directly next to a highly accomplished face; the aesthetic arrangement is neither fully abstract nor authentically figurative. Instead, these two antithetical elements deliberately render an ongoing process where balance takes its place and the inner tension finally settles into harmony.The identity of the figures is not clearly established, leaving the painting on the edge of the mysteriously familiar and oddly unfamiliar.

1. How would you define your work in a few words (ideally in 3 words)?

English：

State of life, faith, destruction and restoration. Sorry for using four words, as I believe destruction and restoration take place simultaneously throughout my painting process.

中文回答：

生命状态、信仰、破坏与修复。抱歉用了四个词，因为我觉得破坏与修复同时在我的绘画过程中进行。

2. Could you share with us some insights on your new work named ‘The Splendor of the Promise’ (2025)? Is there any particular story behind this new painting?

This work is inspired by the story of Jesus’ resurrection on the third day and his appearance to his disciples. It marks the beginning when his disciples were called to spread the faith far and wide. This story deeply moves me; it is also the starting point of salvation for people of all nations.

中文回答：

这张作品出发的引子是耶稣在三天后复活，复活后与他的门徒相见的故事，也就是让他的门徒们去广泛地传播信仰的开始，我认为这是让我很感动的故事，也是万国的人得到拯救的开始。

3. It looks like that you enjoy the distortions of proportions in the human body? Does this apply to your work?

Rather than an intentional stylistic feature, it is the visualization of my feelings toward a certain state of life or a text. These figures are shaped by momentary emotions, long‑term life experiences, and my overall judgment of the painting. Therefore, the distorted forms emerge instinctively under multiple influences. I do not deliberately distort the human body.

中文回答：

与其说是创作特点，不如说是我对一段生命状态或者文本的感受的形象化，这个形象被即时的情绪影响，也被长期的生活状态影响，也被画面的整体判断影响。所以说这是一种我自己的本能的造型在各方状态影响下的结果。我没有办法故意去变形。

4. Your paintings often include facial expressions representing tension, confusion, and discomfort. How much attention do you give to the expression in your paintings?

I devote a great deal of thought to figures’ demeanors, facial expressions and features in my works. Yet I do not pursue any predefined look for them. My hope is that unexpected aesthetics of the human figure can emerge amid the process of destruction and restoration.

中文回答：

可能作品中人物的神态与表情和五官是我花很多心思的部分。但我对这些表情和五官没有具体的追求，只希望在破坏和修复的过程中能产生我意料之外的对人的形象的审美。

5. Some of your figures are practically gender‑fluid. Do you strive for such ambiguity on purpose?

I do not intentionally pursue gender‑ambiguous features. When my focus lies on emotions and the inner state of figures, I set gender aside. Many ineffable inner states are shared by both men and women.

中文回答：

我没有刻意追求无性别的特征。只是当绘画的注意力在情绪与人物的状态的时候，我不会考虑人物的性别，因为很多难以言说的状态，男性女性都会有。

6. Your palette often covers an interesting range of colours; what determines the colour scheme in each of your paintings?

My colour palette is determined by my visual perception, texts, and inner thoughts.

中文回答：

颜色被我的眼睛、文本、想法决定。

7. Do you expect any specific emotions from your viewers’ experience as they explore your body of work?

I do not expect viewers to feel one fixed emotion, nor do I wish every audience to approach the same piece from a single perspective. It is important to me that viewers can engage with my work in whatever way resonates with them.

中文回答：

我不希望观众有一个固定的情绪，也不希望不同观众看我的同一张作品的时候都是一个切入点，他们可以有任何方式进入我的作品，这个很重要。

8. Do specific artworks have been created by random experiments in your studio or do you usually come up with a particular concept or narrative in the very beginning of your artistic process? Are they, somehow, related to personal memories or are they closer to your imagination as an artist?

Both spontaneous experimentation and pre‑planning exist in my practice. I usually make sketches first, which are often rough and raw. Sometimes I start painting with nothing more than a line drawing. Once the core aim is set, I leave the rest to my recent spiritual faith, living condition, and moment‑to‑moment feelings.

中文回答：

我觉得尝试和提前的计划，这两种情况都有。通常我会先画稿子，当然稿子非常潦草粗粝，有的时候也会只有一个线稿，就可以开始一张画。目的计划好后，剩下的交给近期的信仰状态、生命状态和临时的感受。

9. Which are your plans for the near future?

I am shifting my way of creating and slowing down my working rhythm.

中文回答：

在变化一种创作方式，放慢创作状态。

all images courtesy of the artist