刘锋植个展于9月8日在艺·凯旋画廊容若开幕。此次展览呈现了艺术家自上世纪90年代至2015年的一系列作品，其中囊括了人物肖像、静物以及风景在内的50余件作品，是一次对刘锋植创作生涯的梳理与回顾。

Liu Fengzhi Solo Exhibition has opened on 8th September, 2019. A series of works from the 1990s to 2015 is presented, including more than 50 works of portraits, still lifes and landscapes, constituting a review of Liu Fengzhi’s creative career.

刘锋植怀着一颗赤子之心、充满激情和人文关怀的心灵来面对现实世界，他像一个孤独的战士在对外在世界的诗意性拆解与组合中，暗示了在变化与冲突的历史条件下，观念的变革与解放，以及他对人们生存状态的深深思索。从这一点而言，其作品充满了高度的人文历史精神和人文理想，他的画也因此具有了深刻性和某种不可言传的意义。

Liu Fengzhi's scenery, endowed with strong subjective emotions, serves best to express his inner experience and spiritual pursuit. It is not a mere reproduction of the objective world, but a re-enactment of his inner world, and a place where to hold his own. His portraits are also excellent; it’s no exaggeration to say that he is a master in this area. They have not been collectively displayed and have largely been neglected. In the portraits, he left out the intense and stirring uneasiness and anxiety so visible in his landscapes, and returned to simple, quiet and plain love. He painted people he knew well, his wife, his son and his good friends, with his affections for them oozing from within and touching us deeply.

 他有着孩童般的率真与浪漫，执着于自己的绘画世界，决不随波逐流，他的画是具体的、有形、有色，但又是似是而非。因为所有的“形”，需服从他心中的“意”，所以他的画中的形体结构总是显得自由而松散，物体原有的体量感仿佛随风而去，他手中的油画笔似乎更像中国传统文人画家手中的毛笔，轻松而灵动，充满生气。线条的运用是刘锋植创作的另一特色，借助线条的顿挫、曲折、盘旋、往复、疏荡、聚散式的运动，紧密地回应着瞬息间的情感跃动，进而对微妙而不易观察的心灵过程进行描述，抵达到高度抽象的状态，而这种状态更趋近于音乐的灵性。

Liu Fengzhi is recognized in the circle of Chinese contemporary art as one of the most talented artists with a unique painting style and personality.
A man of childlike innocence and romance, he never followed the crowd and held his own in the world of paintings. His works are concrete, tangible and colored, but a little bit elusive. As all the shapes need to obey the intention of his heart, the formal structures in his paintings appear to be free and loosely-arranged, their original sense of volume having gone with the wind. Going about its business with lightness and ease, the oil brush in his hand was full of life, and was more like the brush used by traditional Chinese literati painters. The use of lines is yet another feature of Liu Fengzhi's works. With their twists and turns and hovering and swaying movements, he closely followed the transitory fits of emotions and described the subtle and imperceptible mind to reach a state of elevated abstraction, which is akin to the spirituality of music.