一、转折 阳光漏过纱幔,洒到装饰系列油画《沂蒙娃》身上。我握着一大把画笔,凝视画面,推敲着每一个局部。觉得精神内涵浅淡,外在形体的样式也单薄。虽然能表现出农村孩子装束的色彩斑斓,但太直观表面。这些“沂蒙娃”只能愉悦眼睛于一时,缺乏永恒的魅力,也不会给人以心灵的震撼。 前几年,我一直热恋于形式和色彩,满足于直观和表象,把手段当成了目的,以为这就是绘画艺术的全部。其实我并没有找到高层艺术殿堂的入口。通过进修学习,才渐渐明白,只有在思维定势上获得突破和创造,才会真正带来形式上的变化和创意。我下定决心,试着 First, turning the sun through the yarn veil, sprinkle decorative painting “Yimengwa” body. I hold a lot of brush, gazing at the picture, scrutinize every part. I feel the spirit of shallow, external body style is also thin. Although rural children can show the colorful costume, but too intuitive surface. These “Yimengwa” can only delight the eyes for a while, the lack of eternal charm, it will not give the soul shock. A few years ago, I have always been in love with the form and color, content with the visual and appearance, the means as a purpose, thinking that this is the painting of the whole. In fact, I did not find the entrance to the high-level art palace. Only through further study did we gradually understand that only by breaking through and creating ideological trends can we truly bring about formal changes and ideas. I am determined, try