刘保民的“至幻”系列表达了对于真实的怀疑，而他的前一个系列“大舞台”却相反充满了对事务真实质感的刻画。这个名为“至幻”的系列是一次反质感的图像，这个世界的一切已发生和正在发生的事情，在刘保民的画面上表现出一种虚无感。
他表现的既不是自我，也不是事物本身，而是自我观看事物之间的一层物象，类似毛玻璃上的一种视觉的图像中介。这是刘保民所要做的关于图像自身存在的实验，他希望让形象从对象身上剥离下来，成为画面本身的存在。但刘保民所作的图像描绘不是关于图像自身的介质的呈现，而是试图让绘画性作为一种自我经验的图像象征，即他通过一种图像自身的特征去表达这个时代的异化经验。
个人在消费社会和物质化的体系内产生自我异化，从社会性看，是一种高度物化的日常存在达到一种极端后的不真实感。这种表达在刘保民那里不是作为一种社会批判，而是一种经验通过视觉的自我呈现。这使得刘保民两个绘画系列完成了一次逆反性的转变，即他的图像从一种对于极端真实的呈现，转变为一种对极端不真实的表达。
---朱其
Liu Baomin’s “Extreme Illusion” series express his doubt of the reality; on the contrary, his last series “The Big Stage” focus on the portrait of the texture of real subjects. The“Extreme Illusion”is anti-texture; for all that being happened and now happening in the world seem to be illusory in his paintings.
What he expresses is neither himself nor the subject itself, but the image from his own observation to the subject, just like the visionary image medium by seeing through the clouded glass. That is his experiment of the existence of the image itself. He hopes to separate the image form the subject, making the image the existence of the painting. However, his image portrait is not about the texture itself, but an image symbol of personal experience. That is, he tries to express the differentiation of this age by the characteristics of the image itself.
From the social
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