李红军有着非同寻常的艺术经历：他有着双重的身份——农民和艺术家。 90年代初便创作装置，与方立钧、徐冰等艺术家一起参加国际性展览，然而在病重的妻子和艺术面前他选择回去照顾妻子。2006年中央美院实验艺术系的录取通知书让李红军顶着年龄不大不小的尴尬再度回到北京，继续进行自己的艺术创作。他的《自己》、《膨胀的纸片》、《游离》等系列作品通过纸张的偏移、旋转等方式融汇东西方剪纸艺术，表达了人类自身的价值取向在遭遇了社会现实后的“偏移”和“扭曲”现状。如今，他对艺术几十年的传奇坚持使其成为了中国当代艺术声名卓著的装置艺术家，并被中央美院副院长徐冰喻为“具有中国民间智慧的艺术家”。

Li Hongjun’s particular life experiences have given him dual identities: as peasant and as artist. In the early 90’s he created installations in international exhibitions alongside artists such as Fang Lijun and Xu Bing, but when his wife fell ill he chose to return home and take care of her. In 2006 an admission notice from Central Academy of Art’s Experimental Art Program allowed Li Hongjun, in middle age, to return to Beijing and continue his creation of art. His “Myself”, “Expansion”, “Drift Away” and other series used displaced paper, rotation and other methods to combine eastern and western methods of paper cutting, and expressed the distortion of man’s values after encounters with the reality of modern society. Today, his many years of work have given him an outstanding reputation as an installation artist, and he has been called by CAFA’s vice-president Xu Bing “an artist with Chinese folk wisdom”.