非池中藝術網

我認為，做為一個的藝術家，需要一些超常敏感的靈性，還要有深入下去的探究力，這樣才能體會到藝術內部極

端的靈感，才能尋找到巨大的藝術豐富。

近幾十年，中國當代藝術的發展，水墨是一個繞不過去的主題。這當然不是因為水墨作為材質的中國特色，而是因為，它同時也是語言方式，是思維結構，水墨承載了深厚的中國文化內涵。水墨中的水是中國文化裡，也是西方文化中最重要的核心概念之一。在我看來，水不僅是孕育和維持了生命的元素，更是記憶了人類精神文化運行的載體，是人類最虛無飄渺的而又神祕莫測的靈魂的載體。我沉浸在對水的研究十幾年，在我的畫面中也大量的運用水，可以說，我是在用水作畫，水是運行我一切藝術靈感的載體。而畫面上又看不到水的痕跡，只留下了我瞬間的和深層意識的激活，這也是我繪畫中的獨特之處。

在我看來，”象”是中國文化中獨有的概念，有著做為哲學概念的內涵和外延的巨大的可能性，它包含了最多的中國文化信息。仰則觀象于天，這是中國人獨有的認識可理解世界的觀察方法和思維方式。而這種悟道式的方法也蘊含了無限的想像空間，也為藝術提供了最多的可能性。今天是一個圖像的社會，爆炸式的圖像產生已經給我們帶來困擾，而象可以為我們提供處理今天紛亂圖像的方法，因為象不是簡單的具體的圖像，是圖像的圖像。我的繪畫，無論是天地中空系列，還是虛石系列，都不是我們見過的具體圖像的複製和表現，而是我個人的體驗與想像，也是我對這個世界的觀察與參悟的象。

我創作的繪畫，作為一個象，力求在無法之法，無色無相，化形化色中尋求空白的意義，力求突破繪畫場域，放逐物象，達到自然而然的逸象之境。在視覺空間與形式探索的創造中，構建一個獨立的詩意的藝術的棲居之所。

I believe that as an artist, you need an extraordinarily sensitive spirit, as well as the strength to delve deeper. Only this way can you take in the extreme inspiration within art, and find immense artistic richness.

In the development of Chinese contemporary art over recent decades, ink art has been an unavoidable topic. This of course not because of the Chinese characteristics of the materials of ink art, but because it is at once a linguistic method, a structure of thought, and a carrier of deep Chinese cultural meaning. The water in Chinese water-based ink is one of the most important concepts in Chinese culture as well as in Western culture. As I see it, water is not only an element that fosters and maintains life, but also a carrier for the memories of the operations of human spiritual culture, the most insignificant, yet most profound and mysterious, carrier of the human soul. I have been deeply immersed in research of water for over a decade, and make heavy use of water in my paintings. You could say I paint with water. Water is the carrier through which all of my artistic soul moves. But you cannot see the traces of water in my paintings. All that is left is the activation of my momentary and deep awareness, which is what makes my paintings unique.

As I see it, “ Xiang”, or “ semblance”, is a concept unique to Chinese culture which possesses philosophical import and immense potential for outward extension. It encompasses the most Chinese cultural information. The concept of “ observing the phenomena of the heavens to know the workings of the world” is a uniquely Chinese method of observing and contemplating the world. This method, akin to an enlightenment to the nature of the Way, encompasses limitless room for imagination, and provides the most possibilities for art. The present society is an image society. The explosion in the production of images has left us perplexed, while semblance can provide us with a way of dealing with today’s proliferation of images, because semblance is not just a concrete image, but an image of images. My paintings, whether form the Emptiness Between Heaven and Earth series, or the Empty Stone series, are not reproductions or expressions of concrete images we have seen before , but are my individual experiences and imaginings, as well as my observations of this world and the semblances into which I have gained insight.

The paintings I create, as semblances, strive to find the meaning of blankness within the method of no method, of no color or likeness, of the dissolution of form and color, strive to break through the field of painting, to cast out physical appearance, and reach a realm of natural, unbounded semblance. In creations of visual space and formal exploration, they construct a uniquely poetic sanctuary of art.