Her work is the mirror image, forming a narcissistic connection between the artist and her work. It is the deepest loneliness and the highest comfort.

To Pan Xi, the importance is not about a spiritual dialogue, but about expressing the dialogue between the two daughters of self-division--two characters in a drama, the repression and the indulgence.  Their conflict manipulates the entire production process of the "needle work." Although, on the surface of the canvas all the inner confrontation has transformed into a quiet imagery, layers of decorative patterns, pure and innocent, yet deeply intimate, are a visual witchcraft. The artist is in contemplation with us, observing from the outside with a detached expression. 
- Zhu Da Ke

(The patterns)have become abstract extensions of the bodies. Like pieces of abandoned clothing, they are torn, growing wildly like weeds, and finally forming another extension and surrounding of the body. They are no longer decorative; they are the reflection of humanity, personality and emotion. A dim light radiates from an individual through the reflection of experiences and fantasies. It shatters into pieces and disperses, shimmering in every corner. As the patterns evolve from the lace and spread deliberately across the image, they no longer stress the identity of a female, but they imply the plight of women.

Additional new elements of Pan Xi's work are several lively, distinctive creatures: mosquito, fly, crab, butterfly, toad, octopus, and lizard. These bluish, dark, cold-blooded creatures are not merely decorative, but essential characters that form a triangular relationship with the nudes and patterns. One could say they are the living form of the patterns, creating an intense connection.  
- Zhang Ping Jin

*image (left)
© Pan Xi 
courtesy of the artist and M Art Center