Li: At what point did you stop drawing rows and rows of figures and stat drawing yourself?
Yue: in the same year. At first I drew only several versions of myself. The prime reason was merely technical and not that complicated; meaning that I didn¡¯t need to find a model, though we were told at college any creation must have amodel. What I was doing seemed to contradict other approaches. After all, all I need is my self. It is easier to control and more convenient in creation.

Li: So, initially you were not intending to mock yourself, were you?
Yue: No, but I was deriding society which nobody else was doing. I happened to have such a feeling, which grew increasingly intense untilI arrived at my own style or concept. I have discussed this with many people, and they do not find society laughable in any way.

These people are absolutely normal. Of course, some agree these are things wrong with society, and which are also unpleasant.

Li: Besides the ridicule, there are a number of eccentric actions.
Yue: Right, but they are just something funny from daily life, and I think they serve to enrich my mind. Actually, the poses were originally aimed at mimicking recognisable Chinese stances, such as those awarded revolutionary characters. We had hieroglyphs in ancient times where a specific pose served to indicate a particular character. Yet however I posed, I didn¡¯t look like a (written) character. For example, the ¡°_¡° in ¡°__¡±(china) can not be represented by the from of a single person. So, finally I resorted by form of a single person. So, finally I resorted by the of a single person, So, finally I resorted to a group of postures. Once a foreigner asked me, ¡°You figures originate from Chinese characters, don¡¯t they¡± I was, surprised. He could even recognize the particular characters among the various poses. I thought it was because he had no idea about how to write Chinese characters. If you know the characters well you will not necessarily associate the poses with them. I had intended to use one pose to represent a poem or a Chinese character but it was impossible, thus these poses, thus these poses, these eccentric poses, came into being.

Li: In Fang Lijun¡¯s painting, there is a kind of intense internal antagonism and force. A bald headed figure or a group of bald headed figures effects a visual clout, fully demonstrating the power of the image. Compared with Fang Lijun¡¯s work, the foolish laugh you create delivers a sense of idleness, laziness and boredom.
Yue: Fang Lijun¡¯s drawing is indeed internal. He has a peculiar inner depression while my characters are always beaming, which is undoubtedly a manifestation of an ¡°extrovert¡± rather than an ¡°introvert¡± element. He laughs and jokes without the least atom of seriousness which, to viewers, makes him seem extremely unusual.