李南凤(1966年生于中国辽宁省)1990年在北京毕业于中央美术学院，1991年他移居到塞舌尔，之后从1998年至2002年他又去往欧洲众多国家进行艺术考察学习，在2003年他定居新西兰，创办了自己的美术工作室，从事艺术事业至今。

　　在本次作品的展览中，我们能够明显看出作者对中国传统艺术与西方艺术历史的深入了解，并且运用精湛的技术去融合中西方绘画的传统形式风格。

　　作品玫瑰园(参照作品目录1-3)清楚的展现出法国印象派风格(先前是受到东方艺术风格的影响)。风景(参照作品目录4)为法国现代派风格，与托斯•伍拉斯顿(1910-1998)的风格近似，风景表现的主题是十字架系列。另外一幅也是完美的表现出许多十字架形式(参照作品目录5-8)，其作品令人回忆起澳大利亚现代绘画大师霍华德•沃侬(1927-1982)的风格。在作品《月亮与海》中(参照作品目录17)作者虽然运用中国传统水墨写意作品的手法，然而风格看上去更像欧洲水彩画的效果。

　　展览中的许多作品都能够展现出李南凤是一位具有非凡深度画功的艺术家。他简洁大胆的线条手法在作品裸戏(参照作品目录9-11)中展现的淋漓尽致。另两幅毛利人像作品(参照作品目录24,25)作画的线条表现出人物值得同情的悲怅神态，此外，为了纪念2009年7月著名歌星迈克尔杰克逊的突然逝世，作者特别创作了迈克尔杰克逊系列作品(参照作品目录12-16)画面疯狂的线条与简单的色系，都非常具有表现力的传达出这位巨星带给公众的神秘，悲情，奇特甚至不幸的印象。

　　跟随这些作品，能够看出中西方艺术合理融合的风格特色，这些路线与十九世纪新西兰肖像画家查尔斯•高第和出生在南非的荷兰艺术家马莱内•杜马等成名经历有异曲同工之妙。

　　在这场独特的展览中，我们能够看到许多的优秀作品，使观众畅游在传统艺术以及精湛的美术技艺当中，最后让我们带着诚挚的心态来感受作品主题和寻找艺术家创作的精神理念。

　　温迪•哈森特

　　(温迪•哈森特:奥克兰北岸艺术展览馆经理)

　　2010年7月

　　Reagan Lee(b,1966,Liaoning,China) won a scholarship to the Central Academy of Fine Arts in Beijing，from which he graduated in 1990。He then migrated to the Seychelles in 1991 before spending time in Europe 1998-2002.In 2003 he settled in New Zealand and currently works as a full time painter from his studio in Albany。

　　A thorough understanding of the history and traditions of both Chinese and European art is clearly evident in the works in his exhibition，as indeed is a technical virtuosity informed by both Western and Eastern painting traditions。

　　Rose gardens 1-3(catalogue numbers 1-3)，for example，clearly owe a debt to French Impressionism(which was itself influenced by Orientalism)and Landscape (catalogue numbers 4)to the French Modernism so admired by Toss Woollaston (1910-1998)，while the works in the Landscape for the Cross series，with tree trunks and cruciforms in seemingly stark landscapes (catalogue numbers 5-8)，are reminiscent of Australian modernist painting as practised by artists such as Fred Williams(1927-1982)。The application of the ink washes and treatment of the landscape in Moon and Sea (catalogue numbers 17),however，owes more to a Chinese watercolor landscape tradition than a European one。

　　The figurative works in this exhibition，too，display Reagan Lee’s extraordinary depth and skill as an artist：the simplicity and brevity of line in Aria for a Bold Body 1-3(catalogue numbers 9-11)and the compassion and pathos expressed through line in the two Maori figures(catalogue numbers 24,25)。So too the expressionist treatment of the Michael Jackson series，painted in July 2009 the month of Jackson’s sudden death，(catalogue numbers 12-16)where the，at times，frenzied use of line and occasional dabs of colour so eloquently convery the sad，secretive，freakish and sheer tragic nature of the public persona of the star。

　　As with the landscapes，the figurative works reference both Western and Chinese art traditions - the 19th century New Zealand portrait painter Charles Goldie，and the South African born Netherlands artist Marlene Dumas among others。

　　The strength of the exhibition can perhaps be best seen in the collective nature of the show;the roaming across artistic traditions and sheer skill，honesty and clarity in the treatment of the subject matter。An artist doing what an artist does best -searching for themselves。

　　Wendy Harsant

　　July 2010