First Person Plural
Henri Bergson, in Time and Free Will (1889), posits that linear time is a construct of human cognition, whereas true time is "duration" (la durée), an indivisible and continuous flow. This concept of duration differs from the homogeneous nature of physical time; it is a subjective, internal experience that perpetually evolves within human consciousness. Similarly, in psychology, memory is not a static archive but a dynamic reconstruction between experience and representation. Marcel Proust, in À la recherche du temps perdu (1913–1927), introduces the idea of "involuntary memory" (mémoire involontaire), suggesting that memories are often triggered unpredictably, intertwining with current experiences and blurring the boundaries between past and present. In this intersection of philosophy and psychology, Li Baige's work endeavors to visually capture the essence of duration, reconstructing the fluid state of individual memory. His paintings do not merely depict space; they embed multiple temporal dimensions within a single frame. Much like Proust's involuntary memory, the overlapping of past, present, and future in his work allows the visual experience to transcend linear narrative, entering a dreamlike state of detachment.
Li's compositions are heavily influenced by cinematic and theatrical staging, often exhibiting a deliberate sense of arrangement. Scenes appear as though a moment has just concluded or an unseen dialogue is about to commence. Through the use of low-saturation colors and subtle warm-cool contrasts, he creates a psychological atmosphere that positions the viewer both within the scene and as an external observer, inviting participation in a game of memory.
Notably, Li consistently incorporates two figures—a male and a female—into his works. These are not specific individuals but archetypes representing a human existence that transcends personal experience. Their interactions are not traditional narratives but resemble textual fragments: a recollection from a journey, an impromptu poem, a news report. As Mikhail Bakhtin articulates in The Dialogic Imagination (1981), genuine dialogue does not seek resolution but generates open-ended tension. In Li's paintings, such dialogues are both visible and incomplete—the man and woman coexist in the same space but may not share the same temporal perception. Their narratives overlap and intersect at different moments, creating an unfinished dialogic field that invites viewers to ascribe their own meanings. In works like Anna and The Ballad Singer, the male and female figures gaze at each other from opposing positions. Conversations evolve into discussions, discussions into debates, and debates ultimately dissolve into unresolved silence. The focus shifts from the content of speech to the identities and circumstances of the participants, with the question "Why are we discussing this?" echoing within the composition, highlighting the potential failure of language and the suspension of meaning.
Li's exploration of the multiplicity and flatness of images in his painting can be traced back to his background in printmaking, forming a significant part of his visual language. Multiplicity implies that images within the composition are not singular but oscillate between repetition and transformation, creating a sense of temporal stasis and flow. This multiplicity permeates not only the structural aspects of the images but also the narrative approach, placing each character within an interplay of multiple identities and temporalities. The flatness in his visual treatment reinforces the structural aspects of the images, aligning them more closely with the visual mechanisms of memory—not as clear records or realistic representations, but as images imbued with the passage of time. The structures within the paintings resemble imprints in consciousness, slowly eroded and permeated by time, continuously rewritten yet never erased. Within this, visual experience acquires a blurred and enduring texture, akin to a "visual memory" rather than a replication of reality.
"First-Person Plural" embodies a transformation in the mode of observation. It moves beyond self-centered perception, embedding the self within others and the collective, adopting a fluid identity to view the world. As depicted in Observing Eros, the woman holding a telescope gazes into the distance, simultaneously observing and being observed—her gaze extends beyond the canvas, seemingly attempting to capture an as-yet-unrealized meaning. Her posture invites viewers to contemplate the act of "observing" from her perspective. Li's characters often lack definitive identities, appearing as "identity-less" figures extracted from a broader context. They do not belong to any specific social position but embody a more universal human experience: engaging in dialogue amidst confusion, questioning through conversation. The "we" within the paintings is contradictory, ambiguous, yet shared. In this pluralistic observation, individual enthusiasm may ignite rapidly or dissipate into a state of vacuous excitement amidst saturated information and emotions. "People today live as identity-less individuals under the vast world," having experienced fervor and endured cooling, ultimately awaiting the ignition of the next flame.
by/Zhao Tianrun
