疯景 2007
布面油画
267 x 200cm
疯景 2007
布面油画
267 x 400 cm
误区 2007
布面油画
150 x 170 cm
下流的景致（其一）2007
布面油画
300 x 300 cm
下流的景致（其一）2007
布面油画
267 x 400 cm
《未命名》 布面油画、综合媒介
300x600cm 2008年
凯伦·史密斯认为，贾蔼力的作品「展现了一幅兼顾寰宇与尘埃的世界图景」，同时有着如莎士比亚作品的细腻，敏感的他用画笔记录下这个人与人疏离的年代。作品的政治及社会意识薄弱，气质上，则更为个人化及私密，其感情的流露极为克制及冷静，意境近乎冷酷，这些特质实在跟这个年代的个性不无关系。如果艺术是一个时代的镜子，那么贾霭力的作品正好反映出中国现今的浮燥、虚妄及不安全感，是整个民族的共同经验，是整个时代的脚注。Karen Smith believes that Jia Aili's works 'showcase a world landscape that balances universe and dust', while also possessing the delicacy of Shakespeare's works, sensitive to his use of paintbrushes to record this era of alienation between people. The political and social consciousness of the work is weak, while the temperament is more personalized and private. The expression of emotions is extremely restrained and calm, and the artistic conception is almost cold. These characteristics are closely related to the personality of this era. If art is a mirror of an era, then Jia Aili's works precisely reflect the current frivolity, vanity, and insecurity in China, which is a common experience of the entire nation and a footnote to the entire era.
《杨先生》 2009 120*160 cm
无题 2011
布面油画
200 x 150 cm
《我们来自世纪》布面油画
600x1500cm 2008-2011年
无题 2011
布面油画
290 x 400 cm
《神州》2011-2012
无题 2008-2012
布面油画
170 x 208 cm
无题 2012
布面油画
132 x 92 cm
无题 2012
布面油画
131 x 115 cm
贾蔼力「无题」2008-2012
尺寸：170x207cm
材质：布面油画
无题 2012
布面油画
233 × 200 cm
《未命名》布面油画
140x201cm 2013年
无题 2013
布面油画
210 x 270 cm
《足球警察的反暴力梦想》
2014-2015 180*220cm
贾蔼力「无题」2015
尺寸：134x156cm
材质：布面油画
《未命名》2014-2015 500*240 cm
《星尘隐者》，2015-2016，
布面油画， 400 x 600厘米
提及画中三个小人，贾蔼力透露，那可能是此前上山问道遇见的三位师傅，与他们的对话曾给他启悟。“师傅告诉我，禅修进入某个意识层，你会发现就像进入梦中，在那个梦里，你既能感知你的梦，也能感知你在做梦。其实这种接近真实的追问跟艺术创作有关，你去画画，其实也是要找到艺术里面最真实的部分、最真实的存在或最真实的关系。”When it comes to the three villains in the painting, Jia Aili revealed that they may be the three masters he met when he went up the mountain and had a conversation with them that had inspired him. The master told me that when meditation enters a certain level of consciousness, you will find that it is like entering a dream, where you can perceive both your dreams and your dreams. In fact, this kind of questioning that is close to reality is related to artistic creation. When you paint, you also need to find the most real part, existence, or relationship in art.
《冻光》布面油画 318x256cm 2017年
《天空中的几何》2017
210*270 cm
贾蔼力 对鲁本斯《劫夺吕西普斯的女儿》的习作 2017
、
The Cap Donning Man 2018
布面油画
263 × 203 cm
《Blues No.49》 2018 270*420 cm
帽子 2018
布面油画
50 × 60 cm
《奏鸣曲》2019 500*1000 cm
贾蔼力「蒙托克假日」
纸本油彩 2019年
190 x 150 cm
《行走的少年》布面油画
100x80cm 2020年
贾蔼力 《变奏曲》 2020 160*140 cm
《骑马像习作》
2020 油画 82*70 cm
《无尽的曲线》 2020 180*225 cm
《带你一起上雪山》 2020 167*250 cm《正午》 2021 布面丙烯 400*1000cm
「三原色的作用」
2022 ，材质：丝网印刷
无框：47.2 英寸 x 38.6 英寸
框架：52.4 英寸 x 44.5 英寸 x 1.6 英寸
贾蔼力：我关注一种自由的叙事性。在我看来，当代绘画真正应当引以为豪的，便是在这种自由的叙事性中潜藏的解构意义的可能。换句话说，就是消解被权力建构的图像知识，解放传统视觉体系中被奴役的符号。尽管符号的堆砌将导致荒诞的产生，但只要足够警惕纯形式的抒情泛滥，便好。绘画就怕道貌岸然，要注意叙事姿态的舒适从容，如此一来，手中的资料如历史、现场、人物等等素材，便也会自然的舒展开来，并能连通我们当代的视角，以当代人的价值观念与情感记忆复归历史的碎片，这样，画中的人与物便都焕发出一种与我们更贴近、更具真实感的生命状态，成了我们身边的一部分。Jia Aili: I focus on a free narrative. In my opinion, what contemporary painting should truly be proud of is the possibility of deconstructing meaning hidden in this free narrative. In other words, it is to dissolve the image knowledge constructed by power and liberate the enslaved symbols in the traditional visual system. Although the stacking of symbols can lead to absurdity, as long as one is alert enough to the proliferation of pure forms of lyricism, it is good.Painting is afraid of being superficial, so it is important to pay attention to the comfortable and calm narrative posture. In this way, the materials in hand, such as history, scenes, characters, etc., will naturally stretch out and connect with our contemporary perspective. With the values and emotional memories of contemporary people, the fragments of history can be restored. In this way, the people and objects in the painting will radiate a life state that is closer to us and more realistic, It has become a part of our surroundings.贾蔼力，中国当代知名青年艺术家，1979年生于辽宁丹东，中国当代艺术的中坚代表人物，为人却极真诚、低调、朴素，自称他的艺术是“为了赢得小人物的胜利”,他史诗般大规模作品中的孤独人物似乎在现代文明的废墟中寻找希望。在他荒凉的风景中，存在着一种对救赎和拯救可能性的向往和希望。
Jia Aili, a well-known young artist in contemporary China, was born in Dandong, Liaoning in 1979. He is a representative figure of the backbone of Chinese contemporary art, but he is extremely sincere, low-key, and simple. He claims that his art is 'to win the victory of the small', and the solitary characters in his epic large-scale works seem to seek hope in the ruins of modern civilization. In his desolate landscape, there exists a longing and hope for redemption and the possibility of salvation.
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