“逍遥游”是一种精神的自然邀游。对姚媛而言,这种遨游既是绘画的外在形式,也渐渐成为自我存在的内在要求。姚媛近几年的绘画呈现出一种“暗自的收缄方式。与几年前强调语言与观念的对抗性建构有些不同,她努力将某种”裂变“式的语法融合成一种自觉的状态,并越来越内化这种自觉,以至于形成一种向内的逍遥。其”裂变“方式正是她对艺术史责任和要求的具体体现,而向内的逍遥,实际上正是血缘精神的自觉应答。 ”Happy travel “ is a spiritual nature to invite. For Yao Yuan, this excursion is both an external form of painting and an inherent requirement of self-existence. Yao Yuan’s paintings in recent years have shown a kind of ”self-confiscation method.“ Contrary to the confrontational construction that emphasized language and concepts a few years ago, she endeavored to merge some kind of ”fissile“ grammar into one Conscious state, and more and more internalized such consciousness, so as to form a kind of intrigue.Its ”fission " way is exactly the embodiment of her responsibility and the demand of art history, and inward happy, In fact, it is the conscientious response of kinship.