01 自画像：50*35cm，布面丙烯Acrylic on Canvas，2003
此画基于一张2002年的照片。在法国巴黎的地铁站有不少宝丽来自拍机。坐进去，拉上帘子，投入硬币，面对镜头，按下拍摄。咔哒，咔哒，咔哒。。。还有点发热的照片出来了。
标准照是其功能，而我却把它当镜子用，为了自我审视，同时记录。
2003年我看到德国北威州艺术协会的SILKE OTTO-KNAPP个展，被她绘画中水彩般的，淡雅而绚丽的效果所吸引。
2001年我创作了一幅叫《雨前》的作品，云彩部分也用过泼溅的方法。见德国KERBER出版社的《新杜塞尔多夫画派》一书。
在自我尝试和外部影响的综合下，我画了一些被我戏称为“水法”的布面丙烯作品：先用水冲湿画布，然后用电吹风把它吹到半干，泼上调好的丙烯色。
色彩在画布上如在中国生宣纸上一样“融化”，然后在干湿的把握中，渲染，勾勒，滴溅。而这种薄画法对我而言，对应于德国住宅附近清新透明的空气。
在这里，有趣的是：在作者“忧伤而疲惫的面容”中，左鼻孔下有一根从画笔上掉落的笔毛。哈，这个人如此不修边幅，任头发丝粘在脸上了!
This work based on a photo of 2002. There are many Polaroid Self-timers in the metro stations in Paris, France. Sit inside, close the curtains, put in the coins, face to the camera, and press the button. Click, click, click, a warm photo come out.
Taking standard photos is its function. But I treat it as a mirror, in order to self-examine, and record at the same time.
In 2003, when I visited the solo exhibition of SILKE OTTO-KNAPP in North Rhine-Westphalia Art Association, Germany, I attracted by the effect, which was watercolor-painting-like, elegant and gorgeous, in her paintings.
In 2001, I painted a work named
With the self-trying and external influences, I drew some acrylic works, which I dubbed as “Water Method”: First, make the canvas wet, then use the hair dryer to make the canvas semi-dry, and then pour the ready-made acrylic color.
The color “melted” on the canvas, just like on Chinese rice paper. Handle of dryness and wetness, with outlining, dropping and splashing. And this kind of painting method just corresponds to the fresh transparent air near the residence in Germany.
But here the funny is: on the “sad and tired face” of the artist, there is a brush hair, which was left from the brush, under the left nostril. Ha, this person is so slovenly, to let hair stick on the face!
02 中国涂鸦：145.5*97cm，亚麻布面丙烯，2008
像我这样刚毕业就出国的人，回国的时候仍有“青春相伴好还校”的情结。2008年就在央美对面的小区租住了一年。好破旧的小区，倒可以体验生活。有天在楼道里面发现一块铁板不知道是何处卸下来的。漂亮的绿色小板，上面贴着，印着，写着各种广告，被撕起来了，斑驳了，重叠了。北京城里年轻人的涂鸦好像只是欧美的舶来品。哦，对了，功用的，这才是真正的中国涂鸦!不妨借它画一张，拿刮刀刮，笔杆勾，刷子刷，画笔来涂抹。加上在右上角惊恐着的和在中间微笑着的两个形象，以纯中国的方式向天才的强壮的黑皮肤的吸毒的同性恋的叛逆的早逝的让。米歇尔。巴斯奎亚特致敬。上海艺博会的观众看了，会心一笑，不会有人买。
Like me, who went abroad to study just after graduated, when I returned, there is still a complex of “youth is easy to back to school”. I rented house in the community which was opposite CAFA for nearly one year in 2008. That is a poor neighborhood. I can experience life there. One day, I found there was an iron board in the corridor. I don’t know where it came from. It’s a very beautiful green board, which was full of variety advertisements sticking on it. Some were torn up, some were mottled. They overlapped. The graffiti of young people in Beijing seems from west. Oh, yes! What is useful is the real Chinese graffiti! I might draw one, scraping, outlining, brushing and painting. Together with the panic image in the upper right corner and the smile image in the middle, I use purest Chinese way to salute to the genius Jean-Michel Basquiat, who was strong, dark-skinned, rebellious, taking drug, gay, and premature death. The audience of Shanghai Art Fair will smile after seeing that, but no one will buy.
03 我爱蓝色和橙色 I love blue and orange，100*80cm，亚麻布面丙烯Acrylic on Linen，2008
看到了，背景是蓝色的天空，抑或是雪山?
看到了，橙黄色的碎片飞转着，排着队，打着弯。那是佛教的旗幡，还是成群的飞鸟?
是朝霞般的天空吗?抹过几条粉红，狭义的性感，或者是更广阔的欢愉?
喜悦是必然的，在这么晴朗的天空底下.
在当下中国,让自己的作品走向抽象是困难的.一,抽象艺术无法直接“讲故事”; 二,具象和抽象之间的最后这丝线,好比悟空在地上用金箍棒画的圆圈,看似极易迈过,其实跃都跃不过去.连吴冠中先生都不想做“断线的风筝”.而任何的绘画又都是抽象的,都只是构成,肌理,材料,笔触,色彩,几何形,点,线,面.
我的“风筝”在长期自由的飞行中,慢慢的,不知觉的,终于被欧陆的风吹断了线。或许它正朝着一个方向，寻找一个新家.
I have seen, the background is the blue sky, or Snow Mountain?’
I have seen, orange fragments are turning flying, lining up. That is the Buddhism flag, or flocks of birds?
Is that the glow-like sky? There are some pink. Sexy in narrow sense, or generalized joy?
Joy is inevitable under such a clear sky
Nowadays, in China, it’s not easy to be abstract. First, the abstract art cannot “tell stories” directly. Second, the last connection linking between abstract and figurative, just like the circle which is made by the golden cudgel of Monkey King. It seems so easy to be crossed, but in fact, it never happened. Even Mr. Wu Guanzhong, doesn’t want to be “the kite disconnected”. But any of paintings is abstract. They are all composition, texture, material, brushwork, color, geometric shape, point, line and surface.
My “Kite”, during the long-term flying, was blown away by European wind, slowly, unconsciously. Perhaps, it is moving in a direction to find a new home.
05 飞越西伯利亚 Fly Over Siberia，150*100cm，亚麻布面丙烯Acrylic on Linen，2008
从飞机上向下俯视，大雪掩埋中的卫星地图。厂区，建筑师的草图，迷宫。人们在这些几何形状的现代主义建筑中工作着。
铁路轨道，球形熔炉，炼钢厂，看不到人。是我所热爱的超然的宁静。飞机不会在这里降落，这里也不属于你。你永不会来这里。你还是做你天上的行者，一个过客。
Looking down from the plane, it is a satellite map buried in snow. Factory area, the draft of architect, maze, people are working in these modern geometry architectures.
Railway tracks, spherical furnaces, steel factories, but no people. These are my favorite serenity. The aircrafts will not land here. Here does not belong to you either. You will never come here. You still be a faquir from heaven, a passer.
06 暴雨将至 Rainstorm Is Coming，150*100cm，亚麻布面丙烯Acrylic on Linen，2008
西班牙画家格列柯(El Greco)式的深蓝色背景中，从高空坠落的汉代书简。凝结了的发乌的鲜血，大雨倾盆前的天空，惨白晃眼的阳光被墨色云团挤压出来。
神迹本该发生了，但只是暴雨将至。准备好，去迎接!伴着乱涂乱抹的冲动和快感。
In the Spanish Artist El Greco’s style dark blue background, it is the Letters of Han Dynasty falling from a height. The dark coagulated blood. The sky before the heavy rain pours down. The pale dazzling sunshine is squeeze out by dark clouds.
The miracle should be happened, but only the rainstorm is approaching. Ready and welcome, with impulsion and joy of the graffiti.
07 姹紫嫣红 Blaze of Colors，40*30cm，布面水溶性油画色 Water-solubility Oil on Canvas，2008
“文章本天成，妙手偶得之。”这句话现在用来给自己脸上贴金。
颜料往白画布上一挤，刮刀快速一刮，放在一边，回头一看，好看，好看。
有通布利(Cy Twombly)的飞洒气质，兼带克里格(Dieter Krieg)的狂野。
“The article is originally natural; the wonderful hand gets it accidentally.” Now, I use this sentence to praise myself.
To plaster the color on the white canvas, scrape quickly, put it aside, and look. Good! Good!
With the stylish temperament of Cy Twombly and the wildness of Dieter Krieg.
09 通往天堂之路 Road to Heaven，213*152cm，亚麻布面丙烯+拼贴 Acrylic on Linen and Collage，2009
我在宋庄的工作室有四扇天窗.关上门,拉上侧面的窗帘,只有天上的光线徐徐地照下来,就可以照亮整个屋子.向上看,明亮的淡橙色和淡蓝色.这两个色彩在石涛上人的山水画里, 是最后渲染的,一点点冷暖对比,足够美奂美仑.
我关上门,向上看,敬仰神明.
神明向下看一眼, 只是谷歌地图里面的四个小小的黑色长方形.
这幅《通往天堂之路》, 向上的运动, 旋转着的线条, 淡紫, 淡橙色, 在淡蓝色天空的背景下,上升,挤压在一起. 远处的笔触已经完成了艰苦的努力, 解脱了, 空灵了. 这幅画反复画了多遍.密不透风, 空可跑马, 干湿浓淡, 相得益彰. *大涤子和通布利(Cy Twombly)有多大的区别呢?
*大涤子就是石涛上人
My studio in Songzhuang has four dormers. When I close the door and the curtain aside, there is only the light from heaven lighting up the whole room. Look upward, the bright orange and the light blue, these two colors are from the Shi Tao Master’s landscape paintings. They are the last exaggeration, with a little contract between warm and cold, magnificent enough.
I close the door, look upwards, and revere the Gods!
The Gods look down. What they see are just four little black rectangles in Google Map.
This “Road to Heaven” is a kind of upward motion. Revolving lines, light purple, light orange, are going upwards, squeezing together in the blue-sky background. The brushworks in the distance had already finished the hard work, freely. How many times I drew this work? The painting is of alternate density in composition and color. What big different between *Dadizi and Cy twombly?
* Dadizi is Shi Tao Master
10 正中健刚 Zheng Zhong Jian Gang，183.5*141cm，亚麻布面丙烯 Acrylic on Linen，2009
其实是“刚健中正”, 苏州园林的门楼上的额题. 蒋介石的名或许源自此处. 而苏州园林又被称作是中国传统文化的精华.
那我顺便画一张涂鸦,用苏州园林的各种图案,题字..
It’s actually “Gang Jian Zhong Zheng”, a stele title on a tower in Suzhou Garden. Maybe the name of Jiang Jieshi is from here. And Suzhou Garden is considered as the cream of Chinese Traditional Culture.
Then, I drew one incidentally, by using various kinds of patterns and titles of Suzhou Garden.
12 习武少年 Kung-fu Boy，213*152cm，亚麻布面丙烯Acrylic on Linen，2010
李连杰(Jet Li)少年习武的照片，眼睛发亮而圆睁，动作明确而坚定。这应该就是童子功，练武的人因此可以获得扎实的基础。
当人们赞叹李连杰高超的武艺的时候，不一定知道，对他而言，从小练武是一场噩梦，是以牺牲童年的快乐为代价的。而当年的物质贫乏，不消说，尽在气氛中了。
看到这张照片，让我想起自己从小学画的情景。心怦然而动，就画了这张。
庆幸这并不完全是一张黑白图片，还有灰灰的黄紫对比，一些些橙色在画面的中下部，足够我去玩味灰色调。也没有必要把形体塑造成钢铁般坚硬，点到为止就好。
This is a photo of young Jet Li practicing Kung-fu. His eyes are bright and big. The posture is clear and with strength. This should be Tongzi Kung-fu. Children who practice Kung-fu can get solid basis by it. And of course, the products at that age are really lack. We can see that from the atmosphere.
When people gasped with admiration at Jet Li’s skillful Kung-fu, they won’t know that practicing Kung-fu from young age is a nightmare to him. It is won by scarifying his childhood happiness.
Seeing this photo, I brought the scene which I learn drawing to mind. So I drew this paint with move.
Luckily, this is not a black-white painting. There are some grey yellow and purple. And there are some orange in the lower of his work. It’s enough for me to relish the colors. It’s not necessary to make the figure as hard as steel. It’s good to stop where you should stop.
13 我们天上见Let’s meet in the heaven，213*152cm，亚麻布面丙烯 Acrylic on Linen，2010
该画源于蒋雯丽电影《我们天上见》里的一张剧照。五六十年代的北京四合院内，一个穿着连衣裙的，扎着红领巾的女孩子和穿着“中国蓝”正装的长者的合影。他们必然是祖孙关系，长幼分明。传统的四合院，藤椅，灰砖墙，刻着兰花的花盆，和清代应该没有区别，他们却穿着苏维埃式的服装。冷战时期的东方阵营，只是夕阳在任何时代都是美好的，受光面为橙色，影子里泛紫。
This work is based on a still photo in Jiang Wenli’s film
16 怀抱小鹿的亚洲少女Young Asian Lady Hugging Deer，213*152cm，亚麻布面丙烯Acrylic on linen，2010
此画源于蜷川实花(Ninagawa Mika)的一张照片. 华丽端庄的亚洲少女,眼睛里面充满了青春的自信和人性的光辉. 精心化妆了的女孩子, 描眉, 画上眼线, 涂上大红色的口红, 还有脸颊上的粉红妆. 这尤其对我有诱惑力，像情爱中的女性脸上泛出来的色彩。红色的头饰避免了油亮的黑发消失在背景中。蓝色钻石项链兼带富贵和庄重。衣着华丽的她温情地抱着一只小鹿。女孩子最容易喜欢各种小动物，天生的母性吧。而红色的轻盈地飞舞着的蝴蝶，给这个稳定的三角形构图带来了一些动感，同时扮演了绘画中“点”的角色。大面积浓郁的深红色和深绿色的对比，深情而浓烈。好比一朵在花园里盛开的娇嫩而高贵的红玫瑰，让我用大笔蘸满色彩来描绘。
This work is based on a photo of Ninagawa Mika. An elegant Asian girl, her eyes are full of youth confidence and human brilliance. The girl grooms herself with elaborate care, pencils the eyebrows, draws out the eye liner, wears red lipstick, and makes her cheek pink. This has the most attraction to me. It is just like the color when a girl is in love. The red headgear makes the black hair avoid disappearing in the background. Blue diamond necklace appears both richness and stateliness. And the red airily flying butterfly brings some dynamic to this stable triangle structure. And it also plays a role of “point” in this painting at the same time. The contrast of large area of red and dark green bring deep and strong mood. It can be compared to a delicate but dignity rose blooming in garden, to make me to describe with full colors.
17 一九七四年钓鱼台国宾馆的晨曦 The Morning of DIAOYUTAI State Guesthouse in 1974，213*152cm，亚麻布面丙烯Acrylic on Linen，2010
干干的铺上去的色彩, 涩涩的, 前后覆盖着, 穿插着. 大笔刷着, 小笔勾勒着. 为了去表现清晨的光线. 一九七四年的晨曦和Twenty Ten的朝霞有多少区别呢? 它永远平静地,不分别地照在世界的各个角落. 看这里,一九七四年,两个表情宁静的女人.姐妹般地牵着手站在一起,她们之间有微妙的地位区别吗? 如何去分辨? 需要去分别吗?太阳还没有强大地登场.远处的树木郁郁葱葱,肃穆的松柏象征着永恒,而粉红花朵正在怒放,总能带来一些愉悦的心情吧? 汉白玉的栏杆,平整的地面,一个大国的华贵和庄严. 左边的那个人是江青,右边是张玉凤.这两个女人的衣服据说是江青自己设计的.做工讲究,庄重大方.而女性特征只是在江青上衣微微闪烁的纽扣, 和腰带上的圆形装饰中有所体现. 江青?这就是我小时候在漫画中看到的丑恶,夸张的,臭名昭著的那个形象? 而现在她是一个不为上世纪八,九十年代出生的中国青少年所知的,被淡忘了的曾经呼风唤雨的历史人物. 在反思本国历史的照片绘画中，不能不提到图28 里希特先生(Gerhard Richter)的一幅叫《鲁迪叔叔》的作品。一个对着家人微笑的德国纳粹军官.而他却是画家的叔叔,穿着典型的杀人恶魔般的纳粹军装.他站在一个平民化的冬日情景中,背后的包豪斯式的的板楼,还有一面不能再普通的墙.但是墙面上横线和斑驳,可以帮助画家去构成和填充画面.在这幅作品中,他仍然用自己熟悉的绘画手法,边画边刷虚画面.不过他面对历史的勇气,却好比君特.格拉斯在《剥洋葱》一书里面, 直面自己的纳粹青年军历史.
The colors on the canvas are a little dry. They are covered and alternated by each other. And the brush strokes are different. Big brush is for painting while small brush is for outlining. But all of these are for express the morning sunshine. How big the different between the morning of 1974 and the sunglow of Twenty Ten? It is always calm, shining on every corner in the world without any different. Look at here, in 1974, these two women whose faces were peace stood together holding hands as sisters. Did they have subtle statue different? How to define? Does it need to define? The sun hadn’t shown up completely. The trees far away are lush. The stately pine and cypress trees symbolized eternity. The pink flowers were in full bloom, bringing some pleasure. White marble railings, flat ground, that are the luxury and dignity of a big country. The left one is Jiang Qing, and right one is Zhang Yufeng. It is said he clothes of these two persons were designed by Jiang Qing herself. The clothes were elegant. Only the shining buttons and the belt decoration on Jiang Qing’s clothes can show out the feminine character. Jiang Qing? Is she the ugly notorious figure in comic books which I read in young age? Now, the name cannot be known in teenagers who were born in 1980’s or 1990’s. This well known historic figure has already been forgotten. In those photos which reflect national history, we cannot fail to mention Mr. Gerhard Richter’s work No.28 < Onkel Rudi >, a Nazi military officer who was smiling to his family. And he is the artist’s uncle, dressed in the typical demonic-like Nazi uniform. He was standing in winter scenery. The background was a Bauhaus style building and a common enough wall. But the the horizontal lines and the mottled spots can help the artist to form and fill the picture. In this work, he used his familiar techniques, to paint and make it vague at same time. However, his courage to history is just like Gunter Grass in his biography book
18 灰绿色的亚洲男子 An Asian Man in Grey Green，213*152cm，亚麻布面丙烯Acrylic on Linen，2010
个人情感危机中的男子,郁闷的情绪在浑浊的灰绿色中沉沦. 只是个人的情感危机,还是个人价值观和社会主流价值观的碰撞? 你准备以你微弱的力量来对抗社会的洪流? 我决定顺从古人思想:穷则独善其身，达则兼善天下.看，这个画面被紧密地切割.右手的黑边和顶部的斜线联系在一起,好比门框.画面中心的是一个占主导地位的接近于竖立长方形的弧形,最远处是一个深蓝绿色的长方形, 站立的男子压在这个形体上, 同时连接了弧形和它.淡粉色的两条腿,好像是女性的,看似和白色背景融合在一起,实际上联系了主导的弧形和画面底部,也切割了白色背景.在这些主导形体中还有不少局部的形体,这些各种各样的形体丰富了画面,同时和自然界中千变万化的形体相对应.“绘画与自然相关联,同时平行于自然.”塞尚(Paul Cézanne)语. 而”盛天泓，二零一零年”的签名好像植物的枝叶般被藏在了画面的右下角。
In personal emotional crisis, the man’s depressed mood sank in the muddy grey-green color. Is it just personal emotional crisis or the collision between personal value and social mainstream sense of worth? Do you want to fight against social mainstream by your weak power? I decided to obey the ancients’ thought: “If you live a life of hardships, you can manage yourself alone. But if you are power enough, you should also take more care of the world.” Look! This picture is separated. The black edge in right has relation to the tilted line on the top. It’s just like a door frame. In the center, there is an arc which is close to a rectangular in dominant place. There is a dark green rectangular in the most distant. A standing man is on this. He connects the arc and it at the same time. The light pink legs seem from a woman. They seem be mixed together with the white background. But actually, the legs also connect the arc and the bottom of this picture, and cut the white background at the same time. In all these main shapes, there are still some detailed parts. These various shape rich the work, and echo to the shapes in natural world. “Painting associated with nature while parallel to the nature”---from Paul Cézanne. And the signature “Sheng Tianhong, 2001” is just like a leaf hidden in the lower right corner.
19 加州午后 Afternoon in California，213*152cm，亚麻布面丙烯Acrylic on Linen，2010
我用绘画“写生”了美国摄影师Larry Sultan的一张叫《塔莎的第三部电影》的照片。夏天午后的阳光，强烈却慵懒。仍然为拍电影而做着发夹的塔莎回眸中：她的右手轻托脸庞，白色的小背心无法遮盖她丰满的胸部，还有她腰间的曲线，她的双腿蜷在沙发上，动人而性感 。背景中模糊的身影好像正在电影的拍摄中，情景十分之暧昧，正在用机器的眼睛对异性身体进行“无耻”的观看? 我们在这里看到一个疲倦了的男人在前景，一个回头看我们的美丽女性在画面的中心，背景里又发生着什么。在现实中，我们何尝不总是观察身边的异性?如果是美丽的或者英俊的， 我们一边装作镇定或者漫不经心，一边眼睛总是賊亮。那种目光虽然被刻意掩饰着，而强度简直可以穿过任何障碍物。
I used the painting “sketch” a photo named “Tasha’s third film” of American photographer Larry Sultan. The sunshine of summer afternoon is strong but lazy. Tasha who is still wearing hairpin for film looks back: her right hand holds her face. White vest cannot cover her chubby breast and her waist shape. She curls up in the couch, touching and sexy. The vague figure in the background seems during the process of making film. The scene is shadiness. The eye stare the lady’s body impudently through camera. Here we can see a tired man in the front part. A beautiful woman who is looking back is in the middle of the picture. And there is something happed in the background. In real world, we always observe opposite sex’s body, are we? If they are beautiful or handsome people, we will pretend to be calm or casual with bright eyes. Although that kind of sight is covered up deliberately, the strength can simply drill through any obstacles.
20 冰冻三尺 Freeze，213*152cm，亚麻布面丙烯Acrylic on Linen，2010
不少人看到这张画都被画中的寒意所打动。天色虽然已经有点灰暗了，但是地面上的冰雪足够反映哪怕是微弱的光线，还不到需要点亮街灯的时候。积雪中的人们穿着笨重的冬装举步维艰，一定还有寒冷的风袭来，足够让工作了一天明显很疲惫的人们绝望。我想即使是这些躲在老爷车中的人也不会轻松太多，因为车道显得肮脏而泥泞。楼房侧面简陋的汽车广告想说：消费带来美好生活!只有远方东正教教堂的金顶是最灿烂的颜色，宗教在最困苦的时候能够给人带来心灵上的慰藉吧?拿这张画和图27图伊曼斯(Luc Tuymans)的《散步》一画比较，冬日的气氛相近。而他在风格上更加简约，在树枝的勾勒中反倒有了几分诗意。关于这张画，有件事情我不想回避不提。当我向两个“被感动”的中国朋友讲到，这是一个俄罗斯场景的时候。他们都变得很激动。为什么要描绘国外?!中国的哈尔滨也有这样的雪景啊!我在想，为什么当代的中国人就不能有一个国际主义的视角和胸襟?难道只能陷入到一种国家主义的情结中去吗?尽管这是当下社会的主流。
Many people are touched by the chill in this painting. Although it has been a bit gloomy, the snow on the ground is enough to reflect any weak light. It is not the time to light up the street lights. The people in snow wear heavy winter coats and walk hard. It definitely has cold wind to let people who work whole day in despair. I think even those who hide in their cars won’t feel easy either, because the road is dirty and muddy. The simple car advertisement showing on the building said: the consumption can bring better life! Only the golden dome of Orthodox Church far away is the most brilliant color. Religion can bring some spiritual comfort to people during their difficult time. Compare with No.27, Luc Tuymans’
21 花季 Flower Season，213*152cm，亚麻布面丙烯Acrylic on Linen，2010
大红大紫到了极点,快成了花市的招贴画了吧? 为了物极必反! 极其难以把握的尺度,如何走在悬崖的边上,而不掉下去?如何做到艳丽而不庸俗? 红啊,绿啊,蓝啊,紫啊,橙色啊,还有狂野的笔法.流畅到轻浮了吧?紫色的花在这里像有机的生命,蠕动的虫子什么的.蓝色的菊花却骄傲洒脱.有画友略带轻蔑地问: 画花了? 我答道:画得如故的是色彩和笔触.吕佩尔茨( Markus Lüpertz) 说过, 如果一个画家说另一画家的作品好,只有三种可能性. 一,五体投地了,这种情况发生的概率极低;二,有其他的目的,因为客套等等; 三, 觉得你画得实在太差了,无可救药了,不构成威胁了,就鼓励两句.除此以外,他肯定说你不是一个好画家.
The colors are expressed to extreme. It almost becomes the poster of a flower market. Things turn into their opposites when they reach the extreme. It’s hard to measure. How to walk along the cliff without falling? How to be dazzling beauty and no gaudy? Red, green, blue, orange, and the crazy brush stroke, are these so fluent to be frivolous? The purple flowers hear seem to be organic lives, such as wriggling worms. The blue chrysanthemums are proud. Some friends ask me scornfully: you start to paint flowers? I answered: what is draw is still about the color and brush stroke. Markus Lüpertz once said: If one artist praises other artist’s work, there are only three possibilities. One is that admire enough, which is happened at a extreme low rate; second, there is some other reasons, such as polite formula; Third, he thinks that your work is really bad, hopeless at all. It won’t be a threat to him. So he encourages you. Unless, he definitely said that you are not a good painter.
22 草地上的女孩 The girl on lawn，213*152cm，亚麻布面丙烯Acrylic on Linen，2010
各种各种的绿色随不同的力度和走向的笔触被画在画布上.人物在画面的左下方,充满中国笔意的树枝在左上角,和人物的右边缘线相呼应,这条线把画面切割成两个三角形.*“马一角”般的构图方式? 我被这张照片中性感的女性所吸引:被清晨阳光照亮的棕色长发,白色背心下丰硕的乳房,白色的带着小碎花的短裙下面的臀部和长腿, 男性视角下的完美女性. 这一切让这片夏日清晨里的草地充满了生机.
*南宋画家马远,多作“一角”、“半边”之景，构图别具一格, 人称“马一角”.
Various green colors were painted on the canvas by different strength and trends. The figure is in the bottom left of the screen. The branches which are full of Chinese meanings are in the upper left corner, related to the figure’s right edge line. This line separates the whole canvas into two triangles. *Corner Ma”‘s style? I am attracted by the sexy lady in this photo: the brown long hair shining under sunshine, the well-shaped breast under the white vest, the hip and long legs under the white flower short skirt, she is perfect woman in men’s angle of view. All of these make the summer morning lawn full of vitality.
* The artist in Nan Song Dynasty Ma Yuan. He always drew some scenery of “one corner” or “half side”. The composition of his pictures is really in a class by himself”
24 剧场 Theater，213*152cm，亚麻布面丙烯Acrylic on Linen，2009
这是一个多媒体的剧场. 从高空俯视, 视觉的丰富性在暗色背景中展现. 看起来恐惧的脸庞,艺术家心灵的写照? 还有不可知的神秘性.古老华贵的剧场和声光电的新媒体混合在一起,历史被穿越了? 我受到法国浪漫主义画家德拉克洛瓦的启发:”绘画应该是视觉的盛宴”. 作品的文学性和精神性隐藏在画面当中.
This is a multimedia theatre. Looking down from upper, the visual richness appears in dark background. Does the face which seems in horror reflect the inside mind of artist? And there is still unknowable mystery. Old but luxurious theatre mixed with new type media: voice, light, electricity. Is the history being passed? I am influent by French romantic artist Eugène Delacroix “Painting should be the banquet of vision”. The literature and spirit of the artwork are hidden in the image.
26爱丽丝神游仙境 Alice in Wonderland，213*304cm，亚麻布面丙烯Acrylic on Linen，2010
这是一张《爱丽丝神游仙境》电影的宣传照,被我完全分解了, 一部分倒置了. 左边的爱丽丝被倒过来，右边风云变幻的花园景象却是正立的。按照自然主义的逻辑，这不成立。但是因为绘画中的抽象性，这样行得通。或许巴塞利兹(George Baselitz)当年也是根据绘画中的抽象性原则，把形象倒过来的。左下角的天空和右上角的大面积云空相呼应，奇异的花朵，古怪的植物，女人的金色长发，丝绸般飞扬的长裙，还有光影。他们占了画面的主体。覆盖，勾勒，笔触在不同速度中挥洒，用最小的笔触到最大的笔触，刷，提，干枯湿润的用笔，丰富了画面，并创造出了二维空间里面虚拟的三维度(非自然主义意义中的立体感)。这是一个因为风起云涌而孕育着两种极端可能性的场景：灾难或者奇迹将要发生。而面对即将发生的巨大事件的不可预知性，使人屏住了呼吸。那就暂时沉醉于这丰富多彩的片刻中吧。
This is a poster of < Alice in Wonderland>, which was disassembled completely by myself. Some parts are up-side-down. In the left part, Alice is in inverse, while scenery of garden which should be changing irregularly is positive. According to the naturalism logic, this is impossible. But because of the abstract quality in paintings, this becomes possible. Maybe George Baselitz made figures up-side-down according to the abstract quality rules in his year. The sky in lower left corner and the large area clouds echo each other. And there are also strange flowers, weird plants, women’s blond hair, silk-like dress, and shadows. They are the main part in this work. Covering, outlining, the brush was painting freely in different speeds, from tiny to large, to enrich the picture and create a fictitious three-dimension in two-dimension space. This is scenery which is carrying within two extreme possibilities because of mounting struggles: the disaster or miracle will be happened. But facing the unpredictable coming events, people hold their breath. Well, let’s temporarily soak in the richness colorful moment!
26-1 爱丽丝神游仙境 Alice in Wonderland (Detail)，亚麻布面丙烯Acrylic on Linen，2010
这是我所钟爱的一个局部。绘画中的厚薄，疏密，层次在这里淋漓尽致。激情并快速果断的短笔触和木讷呆板的笔迹，还有暴力冲动的大笔触，以及躲躲闪闪的小点点，纵向，横向，斜向地交错在一起。反复覆盖后的肌理和薄色层形成对比。这个局部虽大气磅礴，却不空洞。在这里，可以看到老一代丹麦画家Per Kirkeby对我的影响。
This is my favorite part of this work. The painting makes the most of thickness, density, layers thoroughly. The quick brief brushwork with enthusiasm, the blunt brushwork, the big brushwork with strength and violence, and also the points, are together with each other lengthways, horizontally. The texture after several times covering has contrast with layers. This detail part is majestic without inanition. Here, you can see the influence from Denmark artist Per Kirkeby to me.
【编辑：马海艳】
