爱丽丝与兔子洞
Alice and Rabbit Hole
李骏逸
Li Junyi
主办: 天津美术学院 《中国美术报》社
Organizer: Tianjin Academy of Fine Arts,China Art Newspaper
承办:《中国美术报》艺术中心
Organizer:
China Art Newspaper Art Center
支持单位:沧州美术馆
Supported by: Cangzhou Art Museum
地址：《中国美术报》艺术中心
北京市海淀区西三环北路54号
Address: China Art Newspaper Art Center,
No. 54, North West Third Ring Road, Haidian District, Beijing
2025.7.13-2025.7.17
开幕 Opening：2025.7.13 3pm.
骏逸的情感画记
徐涟
用艺术创作的方式来寻找自我，是骏逸最终走上绘画道路的深层原因。她有着娟秀的面庞，却带着一种内心深处的倔强，不管是小时候执意要自己修改父亲取的名字，还是到高中时放弃高分重新走上绘画的道路，她从不是按别人的期望来选择，而是遵从内心，恣意生长。
水墨因此成为她的称手工具。她不拘泥于父亲与导师的笔墨技法，艺术观念则来自契合她天性的民间艺术、朴素绘画，再调和一些夏加尔的幻想与忧郁，并下意识地在色彩中融入自己对墨色的理解，也由此，她走的是一条自己的艺术之路：当别人只在练习基本功时，她却我行我素，毫不顾及别人的眼光，只是挥动画笔，做灵魂漫游。
她把自己的情感当成画记，不经意间留下了“八零后”成长的时代印迹。《爱丽丝》系列的梦幻与瑰丽，是许多女孩子都曾有过的天真烂漫的童年记忆；《镜中人》《出走的爱丽丝》，是青春期少女的自我怀疑与自我认知；《森林的秘密》是在浪漫爱情中对两性关系的探讨与体会；《初——花之果》，传达出女性孕育生命时的喜悦与幸福，间或夹杂一丝淡淡的担忧；《赤子》系列描绘出荷花、荷叶与蝌蚪的池塘中，仿佛是母亲与孩子生活在幸福的伊甸园；《凋零的花》以淡墨勾画女性的身体，倾倒的瓶花饱含隐喻，一颗红色心脏令人联想到弗里达对身体的描绘，仿佛骤然而至的忧伤，那是对即将逝去的青春的不舍，又是东方人对生命、身体、时间的诗意描绘。这些作品，对应着李骏逸生命体验的每一个过程，也留下她关于人生、爱情、母性、自然乃至于生死、孤独、时间的独特体验。
绘画之余，李骏逸写诗、作文，用文字记录下自己的哲思。她的大脑总在思考，总在追问，她不介意自己的绘画如孩童一般稚拙，也会在灵感与心境恰逢其时画下充满象征意味的《梦园》与《生命之树》。近两年来，骏逸的创作有了很大变化，这一方面源自她有意识地寻找新的题材与内容，另一方面，则是她循着天性一路走来，慢慢成长渐渐成熟，《我不曾诞生在这里》《奔向世界尽头》《我们与世界》等一系列作品，在画面的完整性、内涵的深刻性、细节的丰富性上更进一步，而她的想象力与单纯性却依然如故。
读骏逸的情感画记，感受她以敏锐触觉与细腻温情所描绘的生命历程。她希望自己的画是自然而然的，是“不装巧趣，皆得天真”。但愿三十年、五十年后的骏逸，还如今日般平淡天真。
Junyi's Emotional Art Journal
By Xu Lian
Seeking the self through artistic creation lies at the deep-seated reason of Junyi's path to painting. With a delicate face, she harbors an inner tenacity from insistently revising the name given by her father as a child to abandoning high exam scores for painting in high school, she has never been guided by others' expectations, but followed her heart and grown freely.
Ink wash thus became her natural medium. Unrestrained by her father's or mentors'brush techniques, her artistic concepts draw from folk art and naive painting that resonates with her nature, blended with the fantasy and melancholy of Chagall. Subconsciously infusing her understanding of ink tones into colors, she paved her own artistic way: while others practiced basic skills, she defied convention, wielding the brush regardless of others’ gazes, lost in spiritual roaming.
She records emotions through paintings, inadvertently imprinting the epochal traces of the post-80s generation's growth. The dreamlike splendor of the Alice series echoes the innocent childhood memories shared by many girls; Person in the Mirror and Wandering Alice explore adolescent self-doubt and self-awareness; Secrets of the Forest delves into gender dynamics in romantic love; First Bloom—Fruit of Flowers conveys the joy and happiness of female childbearing, tinged with subtle worry; the Innocent series depicts lotus ponds with tadpoles, evoking a maternal Eden; Withered Flowers uses light ink to sketch a female body, with toppled vase-flowers as metaphors—a red heart recalls Frida Kahlo's bodily depictions, embodying sudden sorrow: nostalgia for fading youth and a poetic Oriental meditation on life, body, and time. These works mirror every phase of Junyi's life experiences, preserving her unique insights into life, love, motherhood, nature, and even life and death, loneliness, and time.
Beyond painting, Junyi writes poetry and essays to record her philosophy. Her mind is ever questioning—she embraces the childlike simplicity in her art, and when inspiration aligns with mood, creates symbolic works like Dream Garden and Tree of Life. In recent years, her practice has evolved, partly from consciously seeking new themes, partly from following her nature and gradual maturation. Works like I Was Not Born Here, Running to the End of the World, and We and the World have advanced further in compositional integrity, depth of meaning, and rich details, while retaining her imagination and purity.
Reading Junyi's emotional art journal, one senses the life journey she paints with acute sensitivity and tender warmth. She hopes her art is organic, embodying the ancient principle: "Without artificial tricks, achieve natural innocence." May Junyi remain as simple and innocent thirty or fifty years from now as she is today.
导师寄语
周京新
骏逸要办个展了，她又有了一批新作，更有了一些新的变化，越画越好了，我很开心，在此预先祝贺一下！
骏逸有才气，她的才气总是透着女生特有的悠然，自得自在，却一点儿都不矫情，总是很舒坦，很阳光。
我喜欢骏逸画里洋溢着的童话般梦境，她画里的人物、动物与场景总是与“真实”保持着一个似漫不经意又十分笃定的距离，在一个非“真”亦非“假”的幻化空间里怡然自得，从容而淡然清净，异象且不容置疑，那是一个仿佛能听到长笛、单簧管或中提琴作背景音乐的“桃花源”。
我喜欢骏逸画里流淌着的浪漫色调，它们总是粉粉的，却十分沉静；它们往往皱巴巴的，却非常高级，好似童话世界里飘来的一片片彩缎，随意而恰然地飘落在画里各处。我觉得，是因为这些来自童话世界粉色彩缎的飘落，才生成出了骏逸画里人物、动物和场景美妙的童话般梦境。
骏逸画画靠才情，她对绘画的理解，对生活的感悟，总是会被她的才情“挟持”着，渡往彼岸那个粉色的童话世界，我一直很羡慕骏逸能够占得这样的机缘，我也一直相信，她在自己的童话世界里已然展开的那对翅膀，一定能越来越丰满，越来越自由。
2025年7月6日于江宁
Message from the Instructor
BY Zhou Jingxin
Junyi is having an exhibition, and she has created a new batch of works with some fresh changes. She keeps getting better at painting, which makes me really happy. I would like to offer my congratulations in advance!
Junyi is a talented artist, and her talent always carries the unique ease and freedom of a girl. It’s never pretentious, always bringing a sense of comfort and sunshine.
I love the fairy-tale dreams that overflow in Junyi’s paintings. The figures, animals, and scenes in her works always maintain a distance from "reality"—seemingly casual yet firmly defined. They dwell contentedly in an illusory space that is neither "real" nor "fake," with a calmness, serenity, and uniqueness that feels unquestionable. It’s like a "Peach Blossom Spring" where you can almost hear the background music of flutes, clarinets, or violas.
I adore the romantic tones flowing in her paintings. They are often pink but surprisingly tranquil; they may look crumpled but exude great elegance. It’s as if pieces of colored satin from a fairy-tale world have drifted gently and fittingly onto every part of the canvas. I think it is these falling pink satins from the fairy tale that give birth to the wonderful fairy-tale dreams of the figures, animals, and scenes in Junyi’s works.
Junyi paints with natural talent. Her understanding of painting and insights into life are always "carried away" by her talent to that pink fairy-tale world on the other side. I have always admired Junyi for seizing such an opportunity, and I firmly believe that the wings she has spread in her own fairy-tale world will grow more plump and free as time goes on.
6 July 2025, in Jiangning
爱丽丝与兔子洞
李骏逸
我总是有另一个自己，在自己身体里与自己对话，会告诉自己每天平淡的琐事，安排日常生活，会告诉自己要活的有能量，不要沮丧，会有一个飞升出去的灵魂，躯体发呆木视的时候，去了美好的地方梦游，这个地方有梦想中的，也有现实中曾经记忆深刻的地方。
也许不曾每人都读过《爱丽丝梦游仙境》这部儿童文学，但相信大家几乎都看过其改编的电影。那个突然出现的兔子洞，宛如一道时空裂痕，既是爱丽丝坠入梦幻世界的入口，亦是她回归现实的通道。
早在2014年我便已《爱丽丝的梦游》《爱丽丝的漫游》《爱丽丝在哪》《爱丽丝的云游》为题创作了一系列的作品，大约持续了2-3年之久，那里面的女孩，会出现在不同的场景，在她的大鸟的保护簇拥下，或飞升或恬坐或遥望或站立，这是一个爱幻想女孩，她既是我自己也是穿梭游离于奇特梦境女孩的化身，她把人们带进一个又一个美丽新世界，一次次安慰现实中备受压力的人们，也就是这个时期可能多数人对我作品的印象是自由浪漫、瑰丽大胆、充满想象。
但是城市的繁华、喧嚣，人与人之间审慎和隔膜，甚至工于心计和尔虞我诈，遇到的挫折和磨砺，会让人逐步的清醒与成熟，爱丽丝梦游够了会不由自主地跌入现实，曾经在梦境中的她是被动进入，误入了兔子洞闯进了光怪陆离的奇幻世界，回归之后她不得不要经过一番撕扯和挣扎，所以有了一段时期（2017--2019）的《归来之地》系列作品，那时候喜欢用暗紫色或者紫色系，凸显神秘悲伤又阴郁隐匿的气质。
《归来之地》的暗紫色某天会渐渐干涸，就像爱丽丝从仙境归来后，终将学会在现实的褶皱里寻找微光，我在 2021年前后开始转向 “远方系列” 的创作，曾被城市霓虹映红的眼睛，慢慢映出了苔原驯鹿的影子与极地晨光的轨迹。
最初是一张北欧苔原的照片打动了我，驯鹿群在雪地上投下细碎的影子。那些生于严寒却充满韧性的生灵，让我想起爱丽丝世界里那只永远匆忙的兔子,动物串联起人与世界的关系—— 同样是在边缘地带寻找存在的坐标，只是此刻的 “远方” 不再是梦境的投影，而是被现实滋养的精神原乡。《不存在的地方——鹿冠上的树》里，我刻意让驯鹿的鹿角生长成树冠的形态，墨色的枝桠间透出淡蓝的天光。我开始用低饱和的多彩色调打破紫色系的阴郁，就像在冰封的湖面凿开一道通往春天的裂缝。
这个系列的创作延续至今，从《边缘的温度》里与鹿相拥于蓝色云海的少数族裔女性，到《奔向世界尽头》中踏碎地平线的骏马，画面越来越多地指向自然与生命的共生。有朋友说我的用色又变得明亮了，其实我渐渐明白：真正的远方不在地图的尽头，而是凝视驯鹿眼睛时，发现自己与万物同频呼吸的瞬间。就像爱丽丝懂得仙境是内心的折射，在我的画《孤独星球》里远处的层叠冰山、在因纽特少女面前熟睡的北极熊，以及穿透阴云的黎明，都是我在城市中为自己埋下的精神图景。
忽然想起第一次以“爱丽丝”为题作画时，转眼已经10余年，这几个系列作品清晰地串联起我绘画思路的转变和水墨实践的过程，从烂漫地逃离到艰难地隐忍再到平静地孤独，我一直固执地认为绘画风格要从自己的身体里自然而然地长出来，是阅历、经验的累积与递增，是情感、生命的沉淀与爆发。中国画本身如宋代米芾所说“平淡天真”，“不装巧趣，皆得天真”才是绘画的最高标准。创作者要有一个用力找自己的过程，也有一个渐渐自知和从容舒缓的过程，是经历阵痛后的清醒觉悟，这样的作品才有做到静谧中的光辉与力量，这也是我寄予自己的。
2025年6月25日
Alice and the Rabbit Hole
By Li Junyi
There has always been another self within me, conversing with myself, recounting the mundane matters of each day, arranging daily life, and urging me to live with vitality—never to be despondent. There is a soul that floats free, wandering to beautiful places in reverie when the body sits dazed and blank-eyed: places of dreams and deeply ingrained real-world memories.
Perhaps not everyone has read the children's literature Alice's Adventures in Wonderland, but almost all have seen its film adaptations. That sudden rabbit hole is like a rift in time and space—both the entrance through which Alice tumbles into a dreamworld and the passage by which she returns to reality.
As early as 2014, I created a series of works titled Alice's Dream Journey, Alice's Roaming, Where Is Alice, and Alice's Cloud Journey, a project that lasted approximately two to three years. The girl in these works appears in various scenes, protected and surrounded by her giant bird, either soaring, sitting serenely, gazing into the distance, or standing tall. She is a fantasy-loving girl—both my alter ego and the incarnation of a girl shuttling through bizarre dreams, leading people into one beautiful new world after another and comforting those weighed down by real-world pressures. During this period, most people likely perceived my works as free-spirited, romantic, magnificent, bold, and brimming with imagination.
Yet the hustle and bustle of the city, the prudence and estrangement between people, even the scheming and intrigue, along with the setbacks and hardships encountered, gradually awaken and mature people. After enough dreaming, Alice involuntarily tumbles back to reality. Once passively drawn into the rabbit hole and thrust into the bizarre fantasy world, her return requires tearing and struggling. Thus, from 2017 to 2019, came the Return Land series, in which I favored dark purple or purple tones to highlight a mysterious, sorrowful, gloomy, and reclusive temperament.
One day, the dark purple of Return Land would gradually fade, just as Alice, upon returning from wonderland, must learn to seek light in the creases of reality. Around 2021, I began shifting to the Distant Lands series. Eyes once reddened by city neon slowly reflected the shadows of tundra reindeer and the trails of polar morning light.
Initially, a photo of the Nordic tundra struck me: reindeer herds casting fragmented shadows on the snow. Those creatures born in harsh cold yet full of resilience reminded me of the perpetually hasty rabbit in Alice's world. Animals link humans to the world—both seeking existential coordinates in marginal spaces. But now, "distant lands" are no longer projections of dreams, but spiritual homelands nourished by reality. In The Non-Existent Place—Trees on Reindeer Antlers, I deliberately made reindeer antlers grow into tree crowns, with pale blue sky light filtering through inky branches. I began using low-saturation, colorful tones to break the gloom of purple, like chiseling a crack in an icy lake to welcome spring.
This series continues to this day. From the ethnic minority woman embracing a deer in the blue cloud sea in Temperature at the Edge to the steed shattering the horizon in Running to the End of the World, the paintings increasingly focus on the symbiosis of nature and life. A friend said my color palette has brightened again. In truth, I've come to understand: the real distance isn't at the map's end, but the moment when gazing into a reindeer's eyes, one finds oneself breathing in unison with all things. Just as Alice realized wonderland was a reflection of the heart, in my painting Lonely Planet, the distant layered icebergs, the sleeping polar bear before the Inuit girl, and the dawn piercing through clouds are all spiritual landscapes I planted for myself in the city.
Suddenly, I recall the first time I painted under the "Alice" theme—over a decade has passed. These series clearly trace the evolution of my painting philosophy and ink wash practices: from romantically fleeing to painfully enduring, then to peacefully embracing loneliness. I've always stubbornly believed that painting styles should grow naturally from within, a product of accumulating experiences and the precipitation and outburst of emotions and life. As Mi Fu of the Song Dynasty said, Chinese painting embodies "plainness and innocence", "without artificial tricks, it achieves naturalness" is its highest standard. An artist must go through a process of striving to find oneself, then gradually attaining self-awareness and calmness—a sober realization after pain. Only then can works achieve radiance and power within stillness, which is my aspiration.
June 25, 2025
李骏逸
1984年生于天津
本硕毕业于天津美术学院
博士毕业于中国艺术研究院
现任教于天津美术学院中国画学院
中国女画家协会理事、会员
李可染青年画院特聘画家
