LI ZHONGSHI

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© 2025 Zhongshi Li copyright  

04. Tomorrow Morning 明天上午
Tomorrow Morning primarily addresses issues such as the personal dimension between reason and sensibility and the painterly tension between figuration and abstraction. The works depict absurd human conditions within hybrid settings.

Genesis is humanity’s yearning for the phallus, its fear of losing its own phallus. It is the eternally desiring, suffering human, an ambiguous relation between existence and nonexistence.

Gun’s Love explores the conflicted and ambiguous relationship between love, sexuality, and violence. The backgrounds of the paintings are drawn from pornographic photographs, over which a gun and political slogans are superimposed. In some works, the text is deliberately erased or obscured, leaving behind a sense of semantic void and unease. Violence is often coexist with intimacy in ways that go unnoticed, “In the name of love” may come from the individual or from the state.

Folds take inspiration from tomb murals, seeking to construct the invisible through painting and to reconsider the existence of painting and the mechanisms of viewing. Two large-scale works are suspended facing each other in the space, forming a chamber-like environment that forces viewers to move back and forth between images without ever attaining a panoramic view. Viewing here becomes a passive and constrained experience, painting is no longer the presentation of images but a structure through which one senses one’s own situation. The large scale is not a formal choice but an inevitable outcome of questioning the mechanisms of viewing.