劉昊天的人物畫有很強的戲劇感，人物間彼此吸附著牢固的磁場，這種強烈的舞臺效果讓我們把目光緊緊盯在三人之間，感受其間的暗流涌動。當(dāng)我們有意遠離這畫的情景，像一個幽靈跳脫自己的軀殼，輕飄飄的俯覽這城市的林林總總，看著蒼白的臉兩兩對視，琢磨著彼此的臉。像在看一群跳舞的孩子，他們的表情隱藏在白色的紙殼面具后面，情緒卻明白的寫在臉上。觀眾看得真切，當(dāng)事人卻沉浸在紛亂之中，可能他們離得太近，或者已然麻木，只有緊緊盯著別人，又轉(zhuǎn)過頭去尋找盯著自己的目光。在這蒼白的臉上，有屬于一幫半大孩子的天真與成熟，徘徊與琢磨，我們自詡繁忙的大人，此刻看來卻都是稚氣孩童。

這根細繩子系起來的面具，紙殼邊緣脆弱的質(zhì)感，似乎隨時可以被輕易剝下，可是面對著它，又真的無法伸出手去。我們在怕什么呢？怕一張可怕的臉亦或底下的另一幅面具？懷抱著這樣的想法，我們真的可以回到當(dāng)初的單純質(zhì)樸嗎？好像不回答這個問題，就永遠沒有資格拿下這張白色的面具。

在劉昊天的畫中，假面不光是一個成人禮，更是不可避免的人性的復(fù)雜和多面，久至人類開始思考的伊始，假面已然形成，即是風(fēng)帆，也是詛咒，哪怕最清純的少女也不得不向它伸出手。采一片漂蕩的蘆葦織一張網(wǎng)，扭起來的便是身不由起，言不由衷。假面遮住的是人性的分裂，也別樣釋放了人性的自由，它掩蓋人性的善惡和種種復(fù)雜情緒，也同樣顯露這些世俗的脆弱。這些灰暗的畫面帶著求而不得的苦楚，身為人而對人性無解的疑惑，明晃晃的質(zhì)問和細膩的憂郁。這些并不活潑的人物帶來的并不是視覺上的愉悅美感，而是微妙的，澀然的心靈觸動。他隱在臺下看世間變換，站在黑暗里對著光思考，這需要莫大的勇氣和恒心。

劉昊天創(chuàng)作的“假面系列”，“秘境系列”和“暗香系列”，也是社會的溫度從溫暖轉(zhuǎn)向冷冽的變化歷程。從鮮活到被遺棄，從真摯到虛與委蛇，我們的情感半徑越縮越小，最后只有臉到面具那咫尺之間。當(dāng)我們都把柔軟的臉藏在面具背后，我們的生活也將像畫中的場景一樣，如夢般虛幻，甚至連灰塵的味道都聞不到。

Liu Haotian's painting has a strong sense of drama. The characters absorb a strong magnetic field between each other. This strong stage effect allows us to look closely between three people and feel the dark current between them. When we intentionally moved away from the picture, like a ghost jumping out of our body, floating over the forest of the city, looking at the pale faces and looking at each other's faces. Like watching a group of dancing children, their expressions are hidden behind a white paper shell mask, but their emotions are clearly written on their faces. The audience sees the truth, but the client is immersed in the chaos, they may be too close, or already numbing, only.  Keep an eye on others, and turn your head to look for your own eyes. On this pale face, there are a group of half-aged children naive and mature, wandering and pondering, we claim to be busy adults, but at the moment seem to be childish children.

The mask tied up by this thin rope, the fragile texture of the edge of the paper shell, seems to be easily peeled off at any time, but in the face of it, it is really impossible to reach out. What are we afraid of? Afraid of a terrible face or another mask under it? With such an idea in our arms, can we really go back to the simplicity of the original? It seems that if you don't answer this question, you'll never be qualified to take off the white mask.

In Liu Haotian's painting, the fake face is not only a adult gift, but also the inevitable complexity and many aspects of human nature. Until the beginning of human thinking, the false face has been formed, that is, sail, but also a curse, even the purest girl has to extend her hand to it. Pick a drifting Reed to weave a net, twisting is not from the bottom of the heart. The false face obscures the division of human nature, but also releases the freedom of human nature. It obscures the good and evil of human nature and all kinds of complex emotions, and also reveals these worldly fragility. These gray pictures with the pain of seeking but not getting, as human beings and unsolved doubts about human nature, clear questions And delicate melancholy. These not lively characters bring not visual pleasure, but subtle, astringent touch of the mind. It took a great deal of courage and perseverance for him to watch the world change and stand in the dark to think at the light.

Liu Haotian's "masquerade series", "secret realm series" and "dark fragrance series" are also the changing course of social temperature from warm to cold. From vividness to abandonment, from sincerity to vanity and vanity, our emotional radius is shrinking and smaller, and finally only between the face and the mask. When we all hide our soft faces behind the mask, our lives will be as illusory as dreams, even the smell of dust.

Writing / artistic writing