本次展览梳理了艺术家近年来的创作，从人际关系的局限性入手，描述片面角度和不同立场所造成的对同一事件的认知偏差，形成与真身（original）相似的反影式的化身（double）。 在李安琪的作品之中，角色构建通过肢体语言、神态捕捉传达出主导与被主导、对抗与亲密。人际关系以生活化的虚构引发观者的共情，又通过戏剧化的构图体现着电影式的情节：出轨、谋杀、阴谋，将人们从共情中抽离，达到真实与幻想之间的恍惚状态。最终，主体们的犹豫、未知性，和静谧的图像语言一起，陷入孤独和虚无之中。 此次展出的18件作品以对话的形式呈现，因视觉上的对立或呼应关系被分成8组，在这样重新被赋予的语境中，除了向观者展示出图像或符号学上的关联之外，更为观者提出了一次重新的作品构建，一组作品中的两件也犹如事件的两个化身，引发关于艺术家创作的内在关联的思考。

The exhibition has combed through the artist's recent creation. Started from the limit of relationship, depicting the deflections caused by different perspectives and participants, which creates reflected doubles of the original. Through body language, facial expression, and limited context, represent an intense conflict, which conveys sadism/masochism and conflict/intimate. When fictionalised quotidian relationship initiate empathy of the viewers primitively, the theatrical composition distributes cinematic plots: cheating, murder, and conspiracies, which withdrawals the viewers from the empathy, and subsequently, it creates a dimly and confusing status between the reality and the fantasy. Finally, the subjects are faltering, then falling into the loneliness and void along with the soundless image language. The 18 artworks exhibited are arranged in dialogues based on the visual connection. In the new given context, these dialogues not only showcase the connection on imagery or symbology, but re-issue the construction of the artworks. Each two artworks in the dialogue act like two doubles, initiate the consideration of the inner links of the artist's creation.