Fascinated by the mystical realms depicted in ancient Chinese literature, in particular the mythical presentation of the heavens in the 'Classic of Mountains and Seas', in the recent work Elfland (2008) presented at Li's solo exhibition Trans+Fusion at Osage Singapore, Li skillfully reinterprets and reconstructs the many imagery and ideas of Chinese Romanticism within the Eastern and Western context through the use of Western mathematical symbols and polygraph shapes. Highly imbued with symbolic implications, the 10 meter tall work composed of 11 paintings further demonstrates and highlights Li's exceptional skill in rendering compositional structure and complex spatial arrangement using oil paint.

Li’s painterly style has always carried a unique stand within Chinese contemporary art as it encompasses the perimeters of decorative art and at the same time possesses the potential to engage in various mythological and philosophical discourses concerning the ancient history and culture of China. Through the use and incorporation of elements from Western symbolism and idealism, Li's work explores and examines the unlimited possibilities set between Eastern and Western aesthetics.

In his latest body of work, Li Xinping shifts his focus towards the broader theme of science and nature by microscopically examining the miniscule details generated from dissected images and mirrored reflections of warped body parts. In the Tentacle and Image series (2010), vibrant colors and irregular shapes are juxtaposed to create stimulating geometric visuals reminiscent of radiating cells. Other works such as Gust (2009) and Cry Out (2009) retain Li's figural approach to express natural phenomenon and human emotion, with the latter bearing a comical touch within.