我始终认为不管是什么形式的艺术，作品中“人”的因素是最重要的。面对机械，冰冷的信息社会，人类生存的痕迹感慢慢消失，人们甚至要靠饿自己来发现自己还活着。

我的作品一直追求一种人性的直透精神底层的东西。一张面孔，一片风景，我都想要撕去表面的“面具”，呈现出鲜活的“人”的世界。并非刻意追求，好象那些东西已经注入自己体内，血液在沸腾，有股莫名的力量驱使我这么做。我认为只要是发自内心的，哪怕连自己都无法解释，只要出现了，都应该重视。不管给作品穿上怎样一件外衣，人性是相通的，作品里面有“人”的存在，观者肯定会感受到，并为此感动。

 我喜欢用一种自我反省式的态度描绘自己和自己身边的事物，画面中出现的物象鸟或者人都是我的模特罢了，他们随着内心各种感觉的需求扮演着不同的角色，传达出内心深处莫名其妙的压力和情感动荡，是一种隐喻象征，他们都是当时自己内心的召唤：感觉到希望的同时又感受到希望的茫然，内心极度矛盾，各种复杂的情感交织在一起，那些细小的连接心跳的笔触好像能帮我缓解内心的矛盾，回归宁静。有股力量驱使我把所有的生命热情都投入到画布中去，这也是我为什么选择绘画性笔触的原因。每一笔好象都带有生命热度，慢慢融化到骨髓里。在这一点上我深受黄宾虹，贾克梅第和塞尚的影响，他们作品里的每一笔仿佛都是一种无声的言说，慢慢地把画布渗透融化，把观者融化。我着迷于这种表达，被它强烈的生命迹象所感动，血液里需要它们，好象生命的源头就在那里呼唤。我喜欢那种笔尖与心跳融合在一起的绘画状态，用小笔不断反复的塑造对象，不是为了刻画出一张张辨认出谁是谁的身份证，而是想要通过不断迂回下笔，接近真实的丰满。我想努力挖掘那些人性的最本源最真实最动人的东西。

李满金

2009年

I always believe that no matter what form of art, the "human" factor in a piece of work is the most important. Facing the mechanical and cold informatics society, traces of human existence are slowly disappearing, people even have to starve themselves to know they are still alive.

My work has always been pursuing the direct human spirit. No matter its a face, a landscape, I always want to tear away the surface "mask" and show the real living "human" world. Not purposely pursuing, but as if these things have inject themselves into my body and blood. Like an unknown force drove me to do so. I feel that as long as it came from the heart, even if we cannot interpret it, but as long as it surface, we should view it seriously. Regardless of how we give our creation to put on a coat, humanity is vice versa, works with human soul inside the viewer will feel it and will always be touch by them.

I like to use a self examination attitude to describe myself and the things around me, objects appears in my creation no matter is it a bird or a human, they are just my model. They will follow their internal feeling to act as different characters to portrait their internal feeling of uncertainties and stress, like a kind of metaphor. They are what my deepest feeling during that time; with some hope but also loss of hope, felt with conflict and mixed feelings, even those tinny brushstrokes help me to claim myself and allowing me to return to peace. There is a force that drive me to put all my life and passion onto my canvas and this is also why I choose painting over other mediums. Every strokes seem to have a life, it slowly melts into our bone marrow. From this point, I was deeply influence by Mei Huang, and Cezanne. Every brushstroke in their works seem like a silent speech, slowly melting and penetrating the canvas and later touches the viewers too. I am obsessed with this kind of expression, being touch by this vibrant type of life, as if it is the source of life.

I like the fusion between the tip of the brush and heartbeat during painting, using small brush to continuously sculpture each other, not just to draw a piece of recognized face, but rather want to by continually painting to get close to the real life. I want to explore human most origin, most real and heartwarming things.

Li Manjin

2009