郭曉光風(fēng)景寫生油畫的價(jià)值，在于在形色光影的變幻中捕捉源自靈魂的悸動，并在觀察的整體性和視覺的積極開放性層面，實(shí)現(xiàn)了自我風(fēng)格的完滿。作為國內(nèi)新具象表現(xiàn)主義油畫的代表畫家之一，他有意識地從單純的室外寫生中，發(fā)掘找尋來自于繪畫本體性價(jià)值的真切感受，以大尺幅的畫面、厚重的色塊，構(gòu)建了中國本土風(fēng)景油畫的氣魄與特色，并以此形成特立獨(dú)行的藝術(shù)風(fēng)格與表現(xiàn)樣式。
郭曉光的“心象”風(fēng)景，在觀察、感受、認(rèn)識自然的基礎(chǔ)上融入了對景物的理解和體驗(yàn)，進(jìn)而運(yùn)用構(gòu)圖、造型、色調(diào)等因素，改變某些形狀、色彩的位置和強(qiáng)弱，通過刪繁就簡的過程，進(jìn)行藝術(shù)的再創(chuàng)造。他不主張利用圖片照片進(jìn)行創(chuàng)作，而強(qiáng)調(diào)自然風(fēng)景給人的視覺與內(nèi)心帶來的直截性的感奮與悸動。正如帕馬爾·席勒所說：“藝術(shù)的本質(zhì)不是再現(xiàn)用眼睛原封不動看到的對象，而是把對象進(jìn)行視覺化?！边@個(gè)“視覺化”的觀照方式與立意過程，在郭曉光的風(fēng)景寫生創(chuàng)作中達(dá)到了一個(gè)由量變到質(zhì)變的高度，使其作品超越了一般意義上風(fēng)景寫生的“小品”性與習(xí)作感，而趨向一種完滿的含義空間。
在對于風(fēng)景的執(zhí)迷中，痛快淋漓的情感抒泄也使郭曉光的作品呈現(xiàn)出某種特殊的酣暢與鮮活。正如畫家在2005年出版的一本畫集自序中所言：“寫生使我在半生創(chuàng)作中的那種重壓得以釋放/從正式中得到一點(diǎn)輕松/從深刻中找到一點(diǎn)簡單/從復(fù)雜中找到一點(diǎn)單純/從刻意中找到一點(diǎn)不經(jīng)意/在不經(jīng)意中，又去體會和積淀一些經(jīng)驗(yàn)和發(fā)現(xiàn)?！碑?dāng)媒體時(shí)代與圖片信息的洪流甚囂塵上，當(dāng)藝術(shù)終結(jié)論的哲學(xué)思辨替代了對于原有傳統(tǒng)媒介技法的探究，這種創(chuàng)作理念與方式不啻為向“繪畫”的本體性的回歸。
The value of Guo Xiaoguang landscape oil paintings is not only to seize the pulsating of the soul in the changes of form and shadow, but also to accomplish the completion of his style at two levels of observational integrity and visual positive openness. As a representative painter of oil paintings of neo-representationalism at home, he discovers and seeks the genuine feeling brought by the true value of painting through simple outdoor paintings from life consciously, and he also constructs the boldness of vision and characteristics of native Chinese landscape oil paintings with big-sized pictures and heavy color lumps, which forms his own eccentric art style and expression pattern.
Guo Xiaoguang’s mental image landscape blends in the understanding and experience of scenery on the base of observing, feeling and knowing the nature, and further changes some shapes and sites and strength of some colors by making use of elements like picture composition, sculpture, hues and so on, and then carries on a recreation of art through a course of simplifying complicated materials. He would rather emphasize the direct moving, inspiration and pulsating of the vision and heart brought by the natural scenery than advocate the production from pictures or photos. Just as Pamar Schiller once said that the essence of art is not to reappear what we see, but to visualize it. The comparison way and conception course of visualization reach to a height from quantitative change to qualitative change in the production of Guo Xiaoguang’s landscape painting from life, which makes his works surpass the feelings of an essay and study of an ordinary scenery painting from life brought to people and tend to a kind of complete meaning space
The straightforward expression of feelings makes Guo Xiaoguang’s works appear merry and live with ease and verve in the insistence of scenery. Just as he said in the preface of his one album published in 2005, to paint from life makes me release my great pressure during my half lifetime creation/ to get a little relaxation from formality/ to get a little briefness from profundity /to get a little purity from complexity/to get a little carelessness from care/to taste and accumulate some experience and discoveries. When the flood current of media age and picture information is making a great clamor, and when the philosophy analysis of the end of art is replacing the exploration of original media skill, this kind of creative philosophy and way is not less than a return to the essence of painting.