李津的作品歌颂生活中最基本的行为和乐趣——睡觉、吃饭、喝酒、如厕等等。他的水墨是一本揭示性的、图解式的日记，记录着裸体的李津在外面游荡、他的恋情、豪华的宴会、他的幻想和偶尔的后悔，或者只是简简单单地在家里坐着。
——罗杰·劳（Roger·Law）
嗯，犯了一个错误？最好在开始时就犯错，把错误变成一个新形象，融入到画作中去。
——李津
随此次展览，站台中国与艺术家李津推出一本图册，其中收录了本次展览的文字资料，艺术家罗杰·劳（Roger·Law）编辑并撰写的文章，以及站台中国与李津的对谈文字，一并呈现了李津于牛津大学阿什莫林艺术与考古博物馆的展览文献。
李津，1958 年生于中国天津，1983 年毕业于天津美术学院国画系，现工作生活于北京，天津。
2013 年被 AAC 艺术中国评为年度水墨艺术家。2014年被权威艺术杂志《艺术财经》艺术权力榜评为年度艺术家。2024年在牛津大学阿什莫林博物馆举办英国首次个展“有情皆乐”，2022年在顺德和美术馆举办个展“肉食者不鄙 —— 李津 顺德行”，2015年在上海龙美术馆举办大型回顾展“无名者的生活--李津三十年”。作品被大都会博物馆、波士顿艺术博物馆、牛津大学阿什莫林博物馆、新南威尔士州州立博物馆、西雅图美术馆、中国美术馆、和美术馆、香港艺术馆、武汉美术馆等机构收藏。
李津的画充满了对俗世的热爱，也充满了无法扼止其必死的悲伤。他揭示了通过对俗世飨宴最深刻的快感触及到不朽的神光。他的画张开感官的毛孔，并通过毛孔敞开通向宗教的大门。李津的笔墨是去诗意化的，甚至是反智的。它们大多指向饮食男女，是仿日记，记录私生活的流水账，是穿衣服或不穿衣服的自画像。他所谓的家常主义，貌似不属于普罗大众，是“我自己的家常”。仔细看，李津所有作品中最精彩的，都是“我自己”的形象。
李津新近的很多画作尺幅短小，越是这些小尺幅的绘画，他画得越是放松，随意，自然，娴熟。从这些新画中，可以看出李津对佛道和自然更感兴趣了。就像文人记下日记一样，李津信手随心地画上自己此刻的感受瞬间。李津的笔端既可以工整也可以肆意，即可以清晰也可以抽象，即可以细致也可以大刀阔斧。李津熟练的技艺和流畅的笔法在画纸上中自如地体现出来:寥寥几笔却栩栩如生。对李津而言，日常生活不是在画中显现，而是通过画画来度过，画画本身就是生活。
Li Jin, born in Tianjin in 1958, graduated from the Chinese Painting Department of Tianjin Academy of Fine Arts in 1983, currently lives and works in Beijing and Tianjin.
In 2013, he was named the Ink Artist of the Year by AAC-ART CHINA. In 2024, a solo exhibition titled “Simple Pleasures: Li Jin with Roger Law” was held at the Ashmolean Museum of Art and Archaeology marking the artist’s first exhibition in the UK. In 2022, another major solo exhibition titled “Li Jin：Meat eaters aren't superficial – Li Jin's trip to Shunde” was held at the He Art Museum in Shunde. In 2015, he held a large-scale retrospective exhibition "The Life of the Unknown - Thirty Years of Li Jin" at the Shanghai Long Museum. His works collected by the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, Ashmolean Museum of Art and Archaeology, Art Gallery of New South Wales, Seattle Art Museum, National Art Museum of China, He Art Museum, Hong Kong Museum of Art, Wuhan Art Museum etc.
Li Jin's paintings are full of ardent passion for the earthly world and in the meantime, overwhelming grief over mortality. They unravel the splendor of earthly indulgence and pierce deep through to the eternal grandeur. His works inhale in sensual airs through each of those hungry pore and splash into a corridor to the religious world. Li Jin's artistic style is de-poetic and even anti-intellectul. His brushes capture men and women engaged in eating and drinking. His paintings are pseudo-diaries, recording the banal lists of personal lives, or self-portraits with the protagonist suited up or undressed. His domesticism does not seem to belong to the proletarian masses. For him, it is "my private domesticism."
Many of Li Jin's recent paintings are short in size and the smaller they are, the more relaxed, casual, natural, and skillful he is in painting them. It is evident from these new paintings that Li Jin is more interested in Buddhism and nature. Like a literatus who keeps a diary, he painted by following his immediate thoughts and emotions. Li Jin's brush strokes can be both neat and reckless, that is, clear and abstract, detailed and bold. Li Jin's skillful and fluid strokes come through freely on the paper - he is generally considered a contemporary ink painter. Still, his painting technique undoubtedly embodies the typical experience of traditional ink painting: few strokes, but vividly lifelike. For Li Jin, everyday life is not revealed in painting but is spent through painting, and the painting itself is life.
