当动荡的现实给予人的孤独感更甚，个人身份与情感的归属便成为艺术试图诠释的话题。在此意义上，李诗文绘画的初衷，既如其所言是消胸中块垒，是对心灵的剖析与独白，也是一种朝向空虚的叙述。这种叙述既喧嚣亦沉默，同时隐含一种彷徨、失落的哀愁，以及一种难以言说的焦灼。

　　When people feel lonely in such a turbulent reality, the personal identity and belongingness of emotion will become the topic of Art today. In this sense, the original intention of Li Shiwen's painting is to clear up glooms as he said, to look into and have a conversation with the heart, and to describe towards the emptiness. This description is not only noisy silent, at the same time it implies a hesitant, dejected distress as well as wordless anxiety.

　　绘画于李诗文而言，呈现出最基本也最重要的价值，哪怕它没有任何明确的指向，其绘画行为本身就令人感到欣慰与满足。在这个过程中，观看与注视一直相伴左右，朴实无华，以看似干涸的、苍白的视觉形象来喟叹时空流转中人的失落，以及无处不在的疏离感。

　　To Shiwen Li, painting shows the most essential and important value of Art, which maybe have no specific point, but the action of drawing is enjoyable and satisfied. During this course, with seeing and gazing, the visual images which seems so pale and empty describes lose in the time as well as the surrounding sense of alienation.

　　李诗文画风景、静物，更多的时候是画肖像人物。这些肖像绘画带有显见的写实风格，在李诗文近几年的作品里，他几乎都以相似的写实手法来处理画面，这首先源于他所承袭的学院教育与审美经验。和中国大多数当代画家一样，他在学院教育中接受的是一套苏派油画的写实主义传统，以及对于构图、色彩、形式的把握法则。这种写实氛围是中国油画发展的基础土壤，但李诗文对此并无好感，反而在学画之初就倾心于意大利文艺复兴时期达芬奇Leonardo da Vinci、米开朗基罗Michelangelo等人的线面素描，进而又从印象派中吸收其对色彩、光影和质感的表现及运用。

　　Shiwen Li draws paintings about landscape, still life and more often are portraits which are about apparent realistic paintings. Among Shiwen’s works in last several years, he almost uses a similarly realistic way which firstly follows his college education and aesthetic experience to draw. As the same as most contemporary artists in China, he learned a way of realistic traditional Soviet painting as well as the rule of composition, color and format during the college education. Though, realistic painting develops in China, Shiwen Li is not interested in this, he paid more attention on line-side sketch of Italian Renaissance from Leonardo da Vinci, Michelangelo as with performance and painting of color, shadow, texture from impressionism .

　　李诗文的绘画之路无疑是一个不断确证其语言方向与皈依的过程。其间，弗朗切斯卡Francesca的庄严神圣、达芬奇Leonardo da Vinci的宽博精深、塞尚Paul Cézanne的厚重倔拙及超自然的结构控制、德加Edgar Degas的苦涩优雅及其晚年的苍茫老辣、勃拉克G.Braque的孤独和闪烁感、贾科梅蒂Giacometti的空洞虚无，以及莫兰迪Morandi的隐秘升华都深深地影响了他。此外，他也经历了在古典、写实与当代风格之间的徘徊探寻，由此使他的语言旨趣和体验更为错综复杂。如今看来，李诗文并没有急于去寻找图像符号或语言修辞的有效性。他虽迷恋绘画手感，沉浸于创作过程中的斑驳痕迹，却放下了对技艺的执迷，希望寻求痛快自在的表达方式。他亦着迷于中国画对于虚空的处理，喜欢在画面中留下空白，留下不同时间的气息，且与绘画对象保持着若即若离的关系，所谓“于相离相，于空离空”。

　　Shiwen Li’s artistic career Is no doubt a process about of .He deeply influenced by Francesca’s solemn, Leonardo da Vinci’s vast, Paul Cézanne’s and natural control of composition. On the other hand, he goes through the hesitation between classicism, realism and contemporary painting, which enriches his skills and experience more complicated. Looking back, Shiwen Li is not so anxious to search effectiveness of symbol or skill. He is infatuated with feeling of painting, enjoyed in during the working, but he gave up the Persistent of skills, to seek a free expression. Shiwen Li is also keen on the ink painting, leaving empty place on the work.