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从早期广为人知的《灵光》系列,到后来标识性鲜明的《指印》系列的出现.张羽艺术创作的脉络清晰可见。他一直在试图通过与“水墨”煤介相关的艺术实践和理论思考.来建立起一个有别于传统、也不同于西方艺术标准的表达系统。在张羽的创作中,“水”和“墨”经常会被以非传统的方式应用着。在有意弱化毛笔的核心作用的同时.他的很多作品也超出了宣纸平面性的限定.而走向更加立体的、空间的、物质化的关系中。
From the well-known “Emmanuel” series in the early days to the later “Fingerprinting” series with distinctive signs, the thread of Zhang Yu’s artistic creation is clearly visible. He has been trying to establish an expression system that is different from the traditional nor the Western art standards through artistic practice and theoretical thinking related to the “ink and wash”. In Zhang Yu’s creation, “water” and “ink” are often applied in a non-traditional way. While deliberately weakening the central role of writing brush, many of his works are beyond the limits of the flatness of rice paper, and move toward a more solid, spatial and materialistic relationship.