Artist Statement (2013)
Li-lan_Working_NYCImaginary and real figures. Birds in flight, or still.  Eyes looking out, looking in.  Animals in black and white or in vivid hues of color - reds, pinks, yellows - stand, fly or float into and out of windows, doors, architectural spaces.  They enter and exit dreamlike silent rooms or places that evoke metaphors of landscapes, of thoughts and of dreams. Continue . . . 
Artist Statement (2010)
Li-lanWebPub Empty canvas speaks to me: blankness anticipates a beginning and in the white quiet stillness I find a place for meditation and creation. Architectural imagery from East and West create spaces against the vast areas of white. In these spaces, and on the two-dimensional pure background birds and planes in flight, insects and animals, perhaps an occasional figure, invoke an illusionistic effect of varied perspectives, passages, boundaries: ambiguous transitions. Continue . . . 
Artist Statement (2007)
Li-lan (223) GMI have included in some pieces an image of my eye fashioned into a repeating stamp motif.  It functions not only to represent my own unique vision as an artist, but also references to how others perceive me.  Western culture typically uses the eyes as a defining physical feature of Asian identity. Continue . . . 
Memories of My Father by Li-lan
ft5p30070c_00004I visited my father in his top floor walk-up from the time my parents separated, and subsequently divorced, when I was two, until he died when I was twenty.  During those years, my father's paintings inhabited my visual world.  They covered every bit of wall space in his Greenwich Village studio on East Tenth Street. Continue . . . 
Artist Statement (1993)
Li-lan93036For me, stamps are everyday objects that suggest a world of correspondence reaching beyond national, racial and cultural boundaries, while still serving as cultural icons reflecting the image a people projects of itself. Continue . . . 
Eighty 22s by Li-lan
D 87 11In my recent drawings I have been using object and symbols from everyday life - at this moment focusing on a postage stamp motif - and transforming these ordinary items into contemplative icons. Continue . . . 
Artist Statement (1980)
Li-lan.334I have often been asked if my work is carefully scaled and premeditated. On the contrary. To begin, I make only a rough sketch for composition, but the image is developed as I work and build up the layers of paint. Continue . . . 
China: My Father’s Village by Li-lan
gee village_1980_5In China I discovered a vital part of my heritage, a vital part of myself. In my father's birthplace - his spiritual home as an artist and a man - the child in me, with all the pain and elation of discovery, was awakened. Continue . . . 
Artist Statement (1977)
Li-lanCoverI am fascinated by images that surround me, that haunt me, in my studio. A torn piece of paper. A folded corner. An empty sketchbook. Blank pages, diaries or music sheets. Paper and pads in various hues: whites, yellows, soft greens and blues. Continue . . .
Why did you become a painter?
image_17 copyLittle hand prints - baby hand prints in blue - would mysteriously appear on the walls. Still not two, I would steal into my father's studio and play with his palette - oil paint attracted me. It still does. But, once there was a time when it didn't. Continue . . .
Stray Questions, Stray Thoughts (On my exhibit at Nantenshi Gallery in May of 1977)
P 75 11"Why do you paint those images? Eggs? Nails?" People constantly asked me these questions during my recent exhibition at Nantenshi Gallery in Tokyo. Why, I wonder? For I have heard this question many times in New York too. I usually answer, "I don't really know. The paintings must speak for themselves." Continue . . .
Prologue
Canvas76Prologue ~ from Canvas With An Unpainted Part: An Autobiography - 1976 Continue . . .