Lihong Bai , 1999, native of Wulanchabu, Inner Mongolia, Undergraduate study at Tianjin Academy of Fine Arts in Chinese painting, master at the Royal College of Art in July 23 in the painting direction. She is committed to expanding the boundaries of traditional ink painting with multi-media, focusing on the issues of mass expression of personal language, aboriginal culture and urbanization relationship. Her passion for art began at the age of six, and this passion helped her gain much from her studies in Chinese painting at the Tianjin Academy of Fine Arts. Since high school, she has been engaged in art and is not ready to stop. She has traveled alone to 68 regions.The work ,ME, was exhibited at Tianjin Art Museum 05/2023 The Metamorphosis, exhibited at Futian Art Museum, Shenzhen 04/2023 The work ,I have a pair of sheep joint bones, won the honorable mention in First-Time Filmmaker Sessions Film Festival 04/2023 The work ,I have a pair of sheep joint bones, was selected for the 2023 Wild Youth Culture and Arts Festival 04/2023 The work ,The Wind is Walking", was selected for the Song "Chao" Youth Art Creation Competition 03/2023 The work ,The Metamorphosis, was exhibited in Shenzhen Red Cube Longgang District Public Art Museum 03/2023 The work ,The Joy of Fish and Water, was selected for the Greek Video Art Midden Exhibition 03/2023 The work ,Compendium of Materia Medica, won the ACCA "New Talent Art Award" 01/2023 The experimental animation , The Metamorphosis, was selected in Shenzhen Youth Art Exhibition 12/2022 Work , Wind, photographic series was exhibited at Hanzan Gallery in Tokyo 12/2022 Work , Cloud, series was selected by Francis Barlier Gallery in Paris 10/2022 Work , Mountain, and "Wind is Walking" ink works were exhibited at the Art Museum of Tianjin Academy of Fine Arts 09/2022 The series of , Ruins, was exhibited at Tianjin Hongji Art Museum 02/2022 The series of ink and wash works , Desolation, was exhibited at Hongji Art Museum 12/2021 The ink and wash series of , Sheep, was exhibited in Inner Mongolia Ordos Art Museum 05/2020
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Bai Lihong's work "Shape Change Story" is an experimental ink animation that took a year to make and consists of 1,178,000 ink works. In this story, a human being transforms his identity with a flower and a caterpillar in a dream world, and they experience each other's happiness, sadness and fear. By imitating the uncertainty in the ink (nature) with modern techniques, she expresses the arrogance of human beings trying to control nature absolutely. She senses that modern lifestyles and the pressures of survival have led to a greater focus on maximising profits in a short period of time, and an attitude of absolute dominance over other living things "without making mistakes", ignoring the space needed and the freedom to grow naturally. People create confined spaces made up of "beautiful" and "conventional" plants and animals, each of which must have its own specific function, and remove as many variables and unnecessary organisms as possible. While resilient plants and animals reproduce spontaneously, they also have unique ecological niches that can thrive and inhabit our wildest lives. The environmental benefits of these "spontaneous ecologies" are not widely recognised, but are in fact the order and law of nature. Nature can also sense the pressure and anxiety of the human environment, as if it were responding to us silently.
She believes that it is easier to tell a story with "you, me and him". The three screens can better present to the audience the state of people, animals and plants when the same thing happens at the same time. It deepens our thinking about the relationship between nature and us, and the plants and animals in nature, and at some point it seems as if nature can also feel the pressure of our present life, and our modern life has also changed a lot of their growing environment. She has been influenced by many Chinese landscape paintings in terms of picture language and composition. Chinese landscape painting is a free-flowing spatial concept with no temporality; it paints the essence of things. This spatial conception is not limited by time and space, and does not go to the time of the day to purposely depict a scene, nor does it have a fixed point of view, so that objects observed from different viewpoints can be combined in the painting at the same time. For example, when summarising the shape of the distant mountains, she drew on the summary of the mountains in Magpie Hua Autumn Colours: one is a pointed triangular mountain, the other is a rounded mountain, and they are parallel in the same picture, which has the essence of nature and the symbolism of eternity.
For the dubbing, she arranged, played and edited the music according to the rhythm of the film, adding rock elements to the climax on top of the guqin that is the main body, layering industrial sounds human voices, and some sounds from nature according to the different moods of the three main lines. These three raw blends express well the state of life in the city in today's times.