Qu Jianxiong’s works have large scale, which gives people the feeling of magnificence when the works form a line. In these works, there are almost everything: the people, animals, plants, daily life and living and industrial products, urban commodities and cars. His works are finished with Chinese ink through complex drawing techniques: sometimes chapping, sometimes imprinting and sometimes molding. However, none of these styles, themes and techniques is adopted to demonstrate a specific meaning of the picture or aesthetic style. On the contrary, Qu Jianxiong decorates the exhibition to be a dark stage to make people confusing in the “sense of lofty” loomed over by shadows. Thus to grasp the ideographic characters of the works.

The works and the exhibition are just like the splendid drama, through which Qu Jianxiong embodies the “cheap copy” of the omnipresent “Human Comedy”, in which there is full of serous lies while lack of voice of intuitive independent intellectuals. Qu Jianxiong does not use the contemporarily popular fashionable ways which are pop, ridiculous and frivolous bus uses the serious words. A public sculpture he designed for Tianjin Binhai Airport has been rudely compelled to be torn down after its completion. Qu thinks that the aesthetic forms constructed by his works and exhibitions are not important but a kind of visual power. What he appeals to is the standpoint of the intellectual which is beyond the works and the criticism of the phenomena of “cynicism, exclusion, sketch and actor” which are flooding in the contemporary art and culture. Therefore, his works and exhibitions seem to show the power of the shadow.