如果现代主义绘画侧重于可视性的话,那么,古典绘画和观念绘画无疑更倾向可述性。如此看来,在肖克刚这里,表面上似乎更接近可视性,但他真正的目的恰恰是为了弱化可视性。只是他弱化可视性与其说为了凸现可述性,毋宁说他是试图在二者的碰撞中通过相互消耗,而探索一个可能的临界点。他消解了象征和隐喻,也避免了回到形式主义的可能。这一点恰恰暗合了他绘画的一个不是逻辑的逻辑:没有目的的书写。它没有起点,没有终点,更像是一个不断制造障碍,又不断排除障 If modernist painting focuses on visibility, then classical painting and conceptual painting undoubtedly tend to be more descriptive. So it seems that Xiao Kegang here appears ostensibly closer to the visual, but his real purpose is precisely to weaken the visibility. It is only that he weakens the visibility not so much to express the descriptivity, rather that he is trying to exploit each other in the collision between the two to explore a possible critical point. He eliminates the symbols and metaphors and avoids the possibility of returning to formalism. This coincides with one of his paintings is not a logical logic: no purpose of writing. It has no beginning, no end, more like a constantly creating obstacles, and constantly eliminate barriers