One can smell wildness blooms into the oil painting of Xie Kean. He focuses his recent artworks to chameleon. By employing the ferocious prosauropod, he implies all the jungle laws spinning around the legal norm and moral base of human society. Never follow the beaten track, Xie Kean makes a studious attempt to grasp his own techniques. He pigments right on canvas instead on a base, questing for close occlusion between oils and cloth marks. Applying wire and drawing template in addition, he bestows every animal in his unrealistic painting with performance nature. These personified chameleons, either in fierce fight or warm embrace, demonstrate the modernist aesthetics of violence in an expressionist context.

    Under an open system in present tense, artists from developing countries now are available to the context of contemporary art, over which the centralism of European and American culture has no absolute discourse power. And Xie Kean is a good example of whom fuse local social reality along with unique geopolitics to form a new art structure of diversity, accessibility and autonomy. He prefers his own peculiarity rather than doctrines of modern art, and selects characterized visual form according to his own cultural adaptability. Being a maverick in self-expression, Xie Kean makes himself outstand from the contemporary art of China. He finally proves more open possibilities for those artists who are courageous enough to encounter the unknowing future.