Xiong Lijun 熊莉鈞

藝術家熊莉鈞早期的作品專注於青年次文化，具有強烈的時代感，是中國改革開放以來流行文化的縮影。青年一代特立獨行、無憂無慮；造型精緻、美豔奪目，他們強烈的表現欲和對自我的絕對認同，既是個體甦醒的人性解放，也是映射社會潮流的時代鏡像，反映了當今社會崇高文化的消解以及青年人精神家園的失落，像是一場放縱與自我麻痺的視覺盛宴。

熊莉鈞近期的創作，則更多轉向對個人與其生活世界的關注，作品中有明顯的“漂浮城市”的圖像敘事概念。作品中的景象多為現實生活中的各種存在，隨時發生又轉瞬消逝，人世萬象的蕪雜與精巧如蒙太奇似的相遇相疊，而身在其中的人們，在環境碎片中不斷切換，如同游走於理想與現實間巨大的距離和矛盾之中，城市給予人類過剩的機會，同時亦滋生了無盡的困擾。焦慮或從容、低落或歡愉都是當下暫時的抉擇，以成全自我的精神跋涉。

Early works of artist Lijun Xiong focus on youth subculture and reflects this era, which is the epitome of popular culture since China’s Reform and Opening-up. In her works, the younger generation is independent and happy. Their life is delicate, beautiful and dazzling. Their strong expressive desire and absolute self-consciousness are not only showing the liberation of awakening individual humanity, but also the image of social trends. Her works reflect the dissolution of noble culture in today’s society and the loss of the spiritual home of young people. They are like a visual feast of indulgence and self-paralysis.

Xiong’s recent works, which have a clear image narrative concept of “floating city”, have turned more attention to individuals and their living environment. Most of the scenes in her works are various exist in real life, happened all of a sudden and soon faded. Multifarious and exquisite parts of the world meet and overlap like montage, and people in it, constantly switching their thinking between fragments of different scenes, are wandering in the distance and contradiction between ideal and reality. The city not only offers excessive opportunities for the human beings, but also breeds endless trouble. Anxiety or easiness, depression or pleasure are all passive choices at the moment. People are trudging in the spirit of self-fulfillment.