In Manipulation N. 46, Shi Lifeng makes an oblique statement about the relationship between the individual and the state. In this painting the small, replicated figures are caught within the grip of oversized enveloping hands. These hands act as an instrument of order for these chaotic figures whose actions are limited by the movement of the invisible giant. However, some have clearly fallen from grace. The blue sky in the background creates a strong contrast between a ‘harmonious’ society and the chaotic reality.
