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Additional Artworks

From VillageOne Art

  1. Heat by Wei Yan, Image 9.

    Wei Yan

    Heat, 2025

    Oil on Linen Canvas

    23 x 27 in (58.42 x 68.58 cm)

  2. I Was Once Your Bone by Xinyu Wo, Image 1.

    Xinyu Wo

    I Was Once Your Bone, 2025

    Oil on wood panel

    12 x 16 in (30.48 x 40.64 cm)

  3. I heart humans by Sherly Fan, Image 1.

    Sherly Fan

    I heart humans, 2025

    Oil on canvas

    12 x 12 in (30.48 x 30.48 cm)

  4. Heart for sale by Sherly Fan, Image 1.

    Sherly Fan

    Heart for sale, 2025

    Oil on canvas

    12 x 12 in (30.48 x 30.48 cm)

  5. I seen the old evidence by Nanxing Zheng, Image 1.

    Nanxing Zheng

    I seen the old evidence, 2025

    Mineral pigments on paper sketch on wood panel

    24 x 18 in (60.96 x 45.72 cm)

  6. Held Together by Alayna Coverly, Image 1.

    Alayna Coverly

    Held Together, 2025

    Oil on canvas

    20 x 16 in (50.8 x 40.64 cm)

  7. Inclined by Alayna Coverly, Image 1.

    Alayna Coverly

    Inclined, 2025

    Oil on canvas

    30 x 20 in (76.2 x 50.8 cm)

  8. Intertwined by Alayna Coverly, Image 1.

    Alayna Coverly

    Intertwined, 2025

    Oil on canvas

    36 x 24 in (91.44 x 60.96 cm)

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About the artist

Xianglong Li

b. 1995

Li XiangLong (b. 1995, HuangShi, China; lives in Brooklyn, New York) earned his BFA in Illustrated Book from the China Central Academy of Fine Arts and his MFA in Fine Arts from the School of Visual Arts. Li approaches internet culture and memes not merely as humor, but as material to rethink how images circulate between screens and canvases. His paintings transform fleeting digital gestures into spaces of reflection, slowing down the speed of online images to let contradiction, distortion, and nuance emerge.

Through playful and often absurd imagery, Li explores cultural dislocation, the fragmentation of information, and the tension between immediacy and contemplation. Humor in his work is never simply a punchline; it coexists with unease, failure, and disorientation, offering a form of “negative positivity” that opens toward critical and comic insight. His practice investigates how visual language can bridge perception, miscommunication, and shared experience, constructing a reflective space outside mainstream narrative conventions.