我们愈来生活在一个充满了不确定性的世界里。这个世界是多样的，也是混乱不堪的。你无法直接把握这个世界，你也无法确定周围世界的真实性。就像我们看崔洁、李超、王远铮三位年轻一代艺术家的作品一样。
王远铮在画面上，可以直接地画一堆肉、一只香蕉、一条蛇等等，是他以往心绪的象征性表现，就像他日常情绪与痛楚的片段宣泄。虽然这些图像有着隐喻的元素，但已没有了传统人文的指涉，与以往宏大的叙事针对性也发生了偏离，而是与自我存在与体验直接相连的明喻。而崔洁也故意将完整图像解构为一幅幅碎片的拼图，甚至错位地并置。看似在探讨影像与绘画之间的转换关系问题，或也能看出她青睐某些艺术家作品中的影子。但她在转换到油画的过程中，采用一种意象随意，相对客观的摹写方式。换句话说，她在对她感兴趣的图像资源利用上，没有做过多的似乎已成定论的历史和记忆的判断，只是在视觉的因素上将感受到的历史客观，朴素、直接的感受移植到画面上。而李超煞有介事地画出的现实场景里你找不出现实的情节线索，他提供了更多的是阳光下难以言说的事件悬疑或不可理喻的迷局。由此构成了他画儿中有些貌似真实，甚至逼真，其实虚构，甚至虚构得你都找不到北！李超的努力恰如人在无望和绝望中的一种挣扎，是人对命运无常的不甘。
从这点来说，他们的态度与视觉呈现是非线性地贯穿于始终，而想象是丰富多变的，提供给观者更多猜测的想象空间。这种片段的流动性在很大程度上决定了叙述本身的真实程度，也使观者获得了一种介于公共的、历史的或日常生活图像的真实与非具体之间界限关系的感受。写意性的油画语言，更使在这种间隔当中寻求到存我的某种新的寓意和诠释，抑或也是将对历史、记忆、现实情感的判断余地和思考空间更多地留给了观众？而题材的选择、器物与场景断断续续的叙事，也许是来自网络的片断性展开。因为感觉、印象、情绪、记忆的流动是表达自身的基础。所以，这些作品的视觉范围仅仅是个人私生活的琐碎事物，比如对生存环境的疑惑、青春期萌动的感情和不安的冲动、记忆的支离破碎等等。那些大量的对于熟男剩女来说几乎是没有任何趣味和意义的抒情片段，以及来自青少年文化自身的文化符号和素材的自由调用，艺术创作在他们这里已完全私人化了，想象片断凸现了青年亚文化对于成年世界既反抗又渴望的矛盾心态，也凸现了新的都市文化对青少年群体的冲击。个体日常生活的经验和游戏式的感情体验具有绝对的意义与价值，而社会主流价值似乎已无足轻重。艺术对于成年人或者传统审美来说非常琐碎和没有意思的表达，但在他们身上可能具有更大的意义。在我看来，他们的油画艺术带有所谓平庸性的表现，却再现了中国现代化生活中莫名无形的苦闷，撩起了不知怎么样的情怀。所以难以界定，没有极端，没有具体表现什么意义，只是一个没着没落的存我状态，一种在惯常价值追求轰然落地之后而开始对日常生活的平庸性回应。而那种自我抑制或自我放纵的艺术转化，触及了一种情感上或者心理上的真实，就像孤绝的情感和自我尊重的态度。或许，他们所强调的只是在无奈的、不确定中张望着不确定的环境，在过渡期找寻自我的栖息之地，而并非如以往艺术那样只重视“确定的意义”本身的价值诉求。
We are living in a world full of uncertainties. This world is diversified, and meanwhile chaotic. You cannot grasp this world directly; neither can you be certain about the trueness of it, just like looking at the works of the young artists Cui Jie, Li Chao and Wang Yuanzheng.
In the paintings of Wang Yuanzheng, he can directly paint a pile of meat, a banana or a snake. They are the symbolic expression of his state of mind, just like a vent of his daily emotions and pain. Although these images have metaphorical elements, they do not have traditional humanistic reference and have deviated from previous grand narration; they are similes that directly link one’s existence and experience. Cui Jie purposely deconstructs complete images into fragmentary jigsaw puzzles, even juxtaposes them in dislocation. She seems to be discussing the transforming relation between image and painting. Through the process of transformation, she adopts a random and comparatively object way of imitation. In other words, concerning the application of the image resource she favors, she has not made excessive judgments about history and memory, but transplanted the feelings about history objectively, plainly and directly into the picture. In Li Chao’s realistic scenes, you cannot find any realistic plot or clue. What he offers is more like an indescribable event or an unreasonable labyrinth. In his paintings, the seemingly realistic and vivid things are actually too fictional to tell their origins. Li Chao’s effort is just like a kind of struggle in despair and desperation; it is the unwillingness of human beings when facing a changeable life.
In this way, their attitude and visual expression are non-linear and run through from the beginning to the end, but their imagination is abundant and changeable, which offers the audience more space to conjecture. The flowing fragments decide the trueness of narration to a large extent. Freehand brushwork of oil painting enables us to find some new implied meaning and interpretation for self-preservation. Maybe it also leaves more space to judge and consider history, memory and realistic emotions. The choice of themes and the interrupted narration of things and scenes may come from the fragmentary development of internet. Because the flow of feeling, impression, emotion and memory is the basis of expressing oneself, the visual content of these works is just fragmentary things of an individual’s life, such as the doubt on living situation, the sprouting emotion of youth, the impulse of anxiety and the fragments of memory. They are boring and meaningless lyrical fragments for adults, cultural signals and a free application of materials for young people. Art creation has become totally personal for them. The imaginary fragments show a rebellious and longing state of mind of the youth sub-culture and the impact of new urban culture on young people. Individual daily life experience and game-liked emotional experience have absolute meaning and value, but the social mainstream value has seemed unimportant. Those fragmentary and meaningless expressions in the eyes of an adult might have more meaning for young people. In my opinion, the seemingly mediocre expressions in their painting art have reproduced the shapeless distress in China’s modernized life and triggered some indescribable feelings. Therefore, it is hard to define. It has no extremes, no concrete meanings; it is just a status of self-preservation and a response to daily life after usual pursuit of value fails. The self-restrained or self-dissipated art transformation has touched a kind of emotional or psychological trueness, such as isolated feelings and self-respected attitude. Perhaps, what they emphasize is just looking at an indefinite situation in helplessness and searching for a place to rest during the transition period, unlike previous art that only attached importance to the pursuit of a “definite meaning”.
【编辑：霍春常】
