作品阐述 | Artist Statement
        我习惯于在我的画面里寻找“光”。
这一系列的油画主要是在描绘中国各地的城市夜景。一开始我只是很单纯地想要描述一个客观的画面,也就是所谓的“记录”。但在这个系列成长的过程中,我发现自己描绘这些图像最基础、最原始的动力其实是想对当下中国的政治和社会面貌做一些个人的注解。所以在这些作品中,这些画面所处的语境/背景的重要性逐渐取代了“光与暗”的概念本身。
        对我而言,当代汉字的有趣之处在于它们如何在我们的日常生活中被构筑和运用。语言本身就是我们的历史遗留物,它在无形中塑造着中国现代的社会面貌以及每个人在这个环境里的身份认同。所以,在这一系列油画的后期,我开始把文字本身作为描绘的主体,希望把观众更多的注意力引向每一副画里的每一个字。然而,因为我所运用的写实手法,和画面整体的客观性,这一效果显得很局限。所以在《撸起袖子加油干》里面,我开始在原有的场景里注入一些外来元素——一句本不该在那个场景里出现的话,从而形成一幅魔幻现实主义的油画。
        尽管这些尝试有它们说得通的逻辑,但中国观众和外国观众阅读这些画面的方式的区别还是大大存在的。如何(或者需不需要)缩小文字字面上带来的理解差异会是我接下来需要着重思考的问题。而这一系列最终也会成为我下一系列——《语言的乱象》的前身。
The habit of searching for light is inherent in my process of painting. 
In this series, I focused on depicting urban night scenes found in China. At the initial stage of the development, such depictions presented themselves just as candid descriptions, or documentations as one may say. However, as the series grows, the importance of the context in which the painted scenes are nested eventually outweighed the notion of light and dark itself. In other words, I discovered that the fundamental drive of this series of my paintings is inseparably connected to my irrepressible wish of commenting on today’s Chinese political and social landscapes. 
I am always intrigued by the way the contemporary Chinese written language is being applied in our everyday life. The language is our historical legacy, which constantly exerts a silent yet undeniably powerful impact on the construction of the modern Chinese social image and people's identity in relation to their country. Therefore, towards the later stage of my development, I started to feature the written language itself as the subject matter, intending to draw the audience’s attention to the presence of each individual characters by having them in the dominant positions of the painting. However, such messages might still be inadequately accessible due to the realist nature of the paintings. To tackle this issue, in the latest painting of the series “Roll Up Your Sleeves and break A Leg", I started to utilize magical realism by injecting the written characters into a situation where the texts presence would be inherently absurd. 
Nonetheless, there are still large differences in ways Chinese-speaking and non-Chinese speaking audiences would read from the paintings. How, or whether or not to close such gap will be the issue of focus for my next stage of development. This series would eventually become the precursor of my next body of paintings named "The Chaos of Language."
儿童乐园 | Children’s Playground
布面油画和丙稀 | Oil and acrylic on canvas
18”x 24”
2018
下岗面 | The Unemployment Noodle Store
布面油画和丙稀 | Oil and acrylic on canvas
24”x 36”
2018
咳嗽 | Night cough
布面油画和丙稀 | Oil and acrylic on canvas
18”x 24”
2018
侨宏渔港 | The Qiaohong Dining Cruise 
黑色绒纸上的油画和丙稀 | Oil and acrylic on black velour paper
32”x 40”
2018
工地 | construction site
布面油画和丙稀 | Oil and acrylic on canvas
18”x 18”
2018
状元食杂店 | the champion grocery store
黑丝绒上的油画和丙稀 | Oil on black velvet
30”x 40”
2018
撸起袖子加油干 | Roll up your sleeves and break a leg 
布面油画和丙稀 | Oil and acrylic on canvas
30”x 40”
2018
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