片段一：翻看大学时的画,发现最初的画是最好的,大胆、直接、没有什么规则,毫不犹豫地就画出来了。看的东西多了,画面上反而没有了自己,而反以为是上路子了。其实,那个路子可能是最害人的东西。它像个无底洞。如今再看那些画,越来越觉得不是自己了。那个时候,我能看到的展览都是在中国美术馆的官方展览,还有国际艺苑那些不入流的艺术作品,另外就是中央美术学院陈列馆展出的典型学院派艺术。当时对一个艺术严重饥渴的青年,什么都是无条件接受的,这个接受形成了我的艺术方向和标准。死气沉沉的学院派艺术,我捧为经典。其结果是出现了我的那些画作——实在没有多少价值的画。 Fragment one: When looking at college painting, found that the original painting is the best, bold, direct, no rules, did not hesitate to draw it. More things to see, but not on the screen themselves, and the opposite is the way to go. In fact, that path may be the most harmful thing. It's like a bottomless pit. Now look at those paintings, more and more do not feel myself. At that time, the exhibitions I could see were all official exhibitions at the National Art Museum of China, as well as the influx of works of art from the International Art Gallery, and the typical academic art exhibited on display at the Central Academy of Fine Arts. What was unconditionally accepted of a youth who was severely hungry in art was an acceptance of my artistic direction and standards. Deceptive academic art, I touted as a classic. The result is my paintings - paintings that do not really have much value.