如果没有特别的说明，抽象主义是无法解释的。或者说，如果缺少一个视觉的上下文，比如，对肌理欣赏的训练，对点线面组合的研究，对平面形式及其意义的学习，抽象主义就无法和胡乱涂鸦划清界限。
但是，这还不是最重要的，因为在现代主义的艺术语境中，胡乱涂鸦早已获得审美的意义。在我看来，最重要的是，抽象主义标示着这样一种倾向，那就是对物像的恐惧。
通过对偶像崇拜的研究，学者们发现，对物像的依赖几乎是每个人天生的习性。他们指出，所有缺乏一神教洗礼的民族，他们的信仰几乎都要被各种物像所包围。他们发现，只要一个物像偶然之间和某些让人满意的结果挂上了钩，这个物像就会迅速上升为崇拜的对象，同时被一系列的特殊解释所定义。于是，偶像就成为了我们所赖以生存的环境与社会的重要象征物。同时，就个人而言，即使是生活在一个偶像崇拜的大环境中，他们也往往会寻找到与自己成长密切相关的物像，并以此为基础，逐渐发展成特殊的恋物僻，并通过这种僻好，最终建立起个人的神秘情感通道。
李华的作品，向我提示了上面所说的道理。
第一次看李华的作品时，我觉得自己并没有被其中的抽象因素所迷惑。直觉告诉我，她在如此艳丽而复杂的色彩关系中，昭示了一种回避，对那些曾经决定自己成长道路的物像世界的回避。我甚至一下子就认定，眼前这些充满回旋笔触和厚重色块的平面作品，其实是这个女性艺术家的一种有趣的性格图示。作品告诉我，她是如此深入地沉浸在个人的幻想中，以至于把童年以及成长期所热恋的个别对象转化成了无法理喻的样式，然后就嵌在眼前的作品里。
按照李华的解释，“华华丹”是她的QQ名。往前追溯，“华华丹”还是一种非常便宜而且方便携带的小孩子的零食。有意思的是，李华对这种零食的描述突然打开了我的记忆闸门，让我想起小时候的同类东西。我记得有很长时间，被广州小孩子称为“鼻屎”的这种零食，曾经让多少生活在物资匮乏的环境中的儿童和少年们感到了满足。让我惊异的是，在李华的童年，这种在南方早已绝迹的零食，居然会成为她多年来梦想的对象。
我想，无论如何，和我的童年相比，李华的童年都不能说物资匮乏，但她依然沉浸在一种消逝的零食的回忆中，并且还发展成为个人艺术的风格标志，这只能说明她把逃避作为了真正的主题。这种逃避是对曾经压迫过她甚至还在继续压迫她的物像的逃避。在她看来，之所以选择这么一种逃避，就是因为物像，不管是伟大的物像还是亲切的物像，都令她感到了厌倦。
更严重的是，这种对物像的厌倦和逃避具有代表性，暗示了由物像世界的压迫所导致的微不足道的反抗。从这层意义来看，李华的作品显然和老一辈的以精英自居的抽象主义划开了界限，从而把个人的性格图示扩大为整整一代人的说明，这一代人曾经在那么物质化的世界中成长，同时又那么尖锐在感受到物像对他们的侵害。
杨小彦
If there is no particular direction, it is hardly to explain abstract art. In other words, without visional context such as training on watching texture, research on combination of points, lines and planes and study on the format and meaning of planes, abstract art and doodle would almost be the same.
But this is not the most important. Doodle has already been awarded for the aesthetic meaning in modernism art. Abstract art marks a trend of fear to image that is the most important to me.
Through the research on the idolatry, it is found that it is natural habits to lean on the image. They point out that nationalities without baptism are around with various images. Once an image links up with a satisfied result, it will be soon honored as an idol and be defined by a series of special explanations. So the idol becomes the important symbol of our society and living environment. Meanwhile, even if they were in such a great environment of idolatry, they would love to look for another idol close to themselves as their objects of special fondness. Then finally they will set up the passage of personal mysterious affection.
Works by Li Hua reminds me the above ones.
First time I saw works by Li Hua, I didn’t think that I was puzzled by the abstract elements. It’s the instinct telling me that she declares to escape from the image on our growing-up way among such a colorful and complicated relationship. It is a picture displaying characters of female artists for me to realize it in a second. Her works shows me that she is so immersed into her own illusion that her loving objects during her childhood and youth are transferred to unreasonable patterns and then it can be found in the front pictures.
According to Li Hua’s words, “Huahuadan” is the nickname of her QQ. Huahuadan can be dated back to my childhood, and it was a kind of snack. It is funny that her description to the snack reminds me the similar thing called “booger” by children in Guangzhou in my childhood, which satisfied the children and youngsters in poor environment. It surprises me that such kind of snack disappeared for long in South China in Li Hua’s childhood becomes her dreaming object years later.
Compared with my childhood, Li Hua’s is better, but she is still in a memory of disappeared snack, which at last turns to her style. Escaping becomes her real theme. She is still escaping from the objects, which pressed her or will press her. In her mind, it is because of the image, so she chooses to escape. No matter it is great or genial, she felt boring.
It is much worse that the boredom of and escape from images are representative, and implies the little resistance to the pressure of images. Works by Li Hua is different from the senior’s. Then pictures of personal characters stand for a whole generation, who are growing up in the materialized world full of commodities and sharply hurt by the images.
Yang Xiaoyan
