Li Fang Lin was born in 1943 in Sichuan Province and graduated from Sichuan Institute of Art in 1963. He is a member of the Chinese Artists Association and a famous country artist in China.

Li had worked in the rural village of northern Sichuan for more than 30 years; he is well acquainted with the mountains, rivers, fields, forests, soil, crops, farm houses and village markets of that area. Li’s works exude a unique native atmosphere that represents his feelings and memories of the land and the lifestyle that he misses a lot. His tranquil and natural style gives his works a touch of simplicity and peacefulness. Li employs the ‘Pointillism’ technique initiated by George Seurat, the prominent representative of Neo-Impressionism. Pointillism painting is created by placing small dots of primary colours in such a manner as to create an impression of blended complimentary and secondary colours. The success relies on the perceptive ability of the eyes and mind of the viewer to mix the color spots into a fuller range of tones. The technique requires profound understanding of the colour theory and a lot of practice. Li is one of the very few who can master the technique and persevered with it.

He has participated in many provincial and national art exhibitions. His paintings “Small Town on Slab Stone Beach” and “Path at the Hill” were in the collection of the China National Museum. Li’s works have been widely reported by the news media including China Central TV, Beijing TV, Xinhua News Agency, People’s Daily (overseas edition), China Culture news, and are considered unique and notable.

李方霖於1943年在四川江津縣出生；1963年畢業於四川美院，為中國美術家協會會員，長期從事油畫藝術創作活動，是中國著名的田園畫家。

李方霖曾在四川北部的農村工作三十餘年；對那裏的山脈、河流、田野、樹林、土壤、莊稼及農家小院和集市甚為熟悉；亦對那遍土地充滿感情和眷念。李方霖的作品散發著濃厚的鄉土氣息，和平、自然的畫風，完美地展示了純樸、親切的大地風情。李方霖採用了19世紀末新印象派以秀拉 (George Seurat) 為代表的「點描法」，運用色彩和光學中的補色原理，在畫面上直接以原色小點併置作畫，讓人們的眼睛自行把色彩混合，既保持色彩本身的純度和明度，亦使畫面色調更加鮮明。色彩併置點描法需要深厚的色彩理論和繪畫經驗，有條理地將色點畫在畫布上，形成物件的形象。李方霖是極少數有功力運用此技法而又能堅持使用的畫家。

李方霖的作品曾多次參加四川及全國性美術作品展覽。1990年，他應中國首都博物館邀請，舉辦了《李方霖鄉情油畫展》，深受好評；作品《石板灘小鎮》及《山下的路》被中國首都博物館收藏。他是中國內地廣為傳媒報導的藝術家之一，中央電視台、北京電視台、新華社、人民日報(海外版)、中國文化報等均有撰文報道及評價其作品，確認他對中國油畫發展的貢獻。