刘昊天的人物画有很强的戏剧感，人物间彼此吸附着牢固的磁场，这种强烈的舞台效果让我们把目光紧紧盯在三人之间，感受其间的暗流涌动。当我们有意远离这画的情景，像一个幽灵跳脱自己的躯壳，轻飘飘的俯览这城市的林林总总，看着苍白的脸两两对视，琢磨着彼此的脸。像在看一群跳舞的孩子，他们的表情隐藏在白色的纸壳面具后面，情绪却明白的写在脸上。观众看得真切，当事人却沉浸在纷乱之中，可能他们离得太近，或者已然麻木，只有紧紧盯着别人，又转过头去寻找盯着自己的目光。在这苍白的脸上，有属于一帮半大孩子的天真与成熟，徘徊与琢磨，我们自诩繁忙的大人，此刻看来却都是稚气孩童。

这根细绳子系起来的面具，纸壳边缘脆弱的质感，似乎随时可以被轻易剥下，可是面对着它，又真的无法伸出手去。我们在怕什么呢？怕一张可怕的脸亦或底下的另一幅面具？怀抱着这样的想法，我们真的可以回到当初的单纯质朴吗？好像不回答这个问题，就永远没有资格拿下这张白色的面具。

在刘昊天的画中，假面不光是一个成人礼，更是不可避免的人性的复杂和多面，久至人类开始思考的伊始，假面已然形成，即是风帆，也是诅咒，哪怕最清纯的少女也不得不向它伸出手。采一片漂荡的芦苇织一张网，扭起来的便是身不由起，言不由衷。假面遮住的是人性的分裂，也别样释放了人性的自由，它掩盖人性的善恶和种种复杂情绪，也同样显露这些世俗的脆弱。这些灰暗的画面带着求而不得的苦楚，身为人而对人性无解的疑惑，明晃晃的质问和细腻的忧郁。这些并不活泼的人物带来的并不是视觉上的愉悦美感，而是微妙的，涩然的心灵触动。他隐在台下看世间变换，站在黑暗里对着光思考，这需要莫大的勇气和恒心。

刘昊天创作的“假面系列”，“秘境系列”和“暗香系列”，也是社会的温度从温暖转向冷冽的变化历程。从鲜活到被遗弃，从真挚到虚与委蛇，我们的情感半径越缩越小，最后只有脸到面具那咫尺之间。当我们都把柔软的脸藏在面具背后，我们的生活也将像画中的场景一样，如梦般虚幻，甚至连灰尘的味道都闻不到。

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