For a long time, the recurring theme in Luo Fahui’s oil paintings was women with flowers. It is a representative image in a new art style that emerged in China after the events of 1989, also known as “New Scars” painting. His work has also continuously displayed the various changes of the desires of the metropolis - in the materialism and spiritual emptiness of city life, the human desire is so real and yet so unreal. The physical sensation of mystery and temptation, anxiety and sadness all fill the creations of Luo Fahui. The impression is misty and winding, obsessive and lingering. Unlike the “Scar Art” that emerged in China in 1980, Luo Fahui does not directly point such sadness to the society, but make it permeate visual response and spiritual experience. He does not over-emphasize or highlight the pain of wounds, on the contrary, in the face of an imperfect world, Luo Fahui would rather depict the irrepressible pursuit of life with his unique grief and anticipation of perfection. Via a sensitive approach of depicture, his work soaks the viewer with a sense of intimacy in physical and psychological reactions, which is rather rare and special in similar artworks.
 
Luo Fahui now works more freely with composition, perhaps as a way for him to express himself to a greater extent or for the purpose of ideographic expression. There are ups and downs in the change of colours: the background is no longer simply vague and dark; the colour of light transmissions similar to that of videos reveals the potential psychological changes of contemporary people.
 
Such is the intuition of the artist presented in depth. I believe that the viewers of “Doom of Spring Flourish – Luo Fahui 2010” will read from it their immediate personal experience of urban humanities, and artist Luo Fahui will serve as a window to open their minds and make them re-examine their own wishes and desires.