03、十里洋場(chǎng)

對(duì)于上世紀(jì)繁華都市的特殊景觀，以及由這些景觀所產(chǎn)生的視覺符號(hào)群，常令我產(chǎn)生莫名地向往和沉醉。1982年只身初到上海便被其深深感染，當(dāng)即在眾人的圍觀下在外灘在南京路在蘇州河等處畫出了一批鋼筆速寫，整整20年后，當(dāng)我獨(dú)自在畫室里要用油畫表現(xiàn)它們時(shí)，倒有點(diǎn)發(fā)怵和忐忑的感覺，怵的是心里沒底，忐忑的也是心里沒底，不知能否尋找到恰當(dāng)?shù)胤绞角腥氘嬅?，從而把心理?jīng)驗(yàn)轉(zhuǎn)化為視覺形象，把記憶還原為圖示。帶著矛盾和復(fù)雜的心情歷時(shí)近一個(gè)月，我畫出了表現(xiàn)老上海外灘的油畫《十里洋場(chǎng)》。2003年此畫參加了在中國(guó)美術(shù)館舉辦的“第三屆中國(guó)油畫展精選作品展”，這是我的油畫第一次參加國(guó)內(nèi)重要的油畫展，也是我創(chuàng)作生涯中一個(gè)重要的分水嶺。

06、風(fēng)云十六鋪 2003到2006年這個(gè)階段，我特別喜歡聽電影《王子復(fù)仇記》中那些大段的臺(tái)詞，其中尤愛哈姆萊特的那段“活著還是不活”的獨(dú)白，莎士比亞的語言和孫道臨的演繹與感染力都令我為之傾倒。記得那時(shí)的我能夠脫口背誦出那些臺(tái)詞的段落?！讹L(fēng)云十六鋪》《黃浦江畔》《有軌電車》等都是這個(gè)時(shí)期的作品，我不知道是否是受到了什么潛在的感染，還是近朱者赤，亦或是其他什么原因，有人在看過這些畫時(shí)，會(huì)覺得有種傷痕藝術(shù)的傾向。上海朋友徐國(guó)勝先生在給我的短消息里就曾說道“現(xiàn)代人很需要你畫面的滄桑感，（一種近似于傷痕藝術(shù)的悲情快感！）陳年往事對(duì)中產(chǎn)階級(jí)的成功之后是失落的寫照，由繁華成功失落缺憾交織的快感來自你的畫作里！便是作品的價(jià)值”。

07、碼頭

藝術(shù)不是歷史境遇和現(xiàn)實(shí)生活的隨從，而是它們的認(rèn)知者解析者和批判者，我希望從某種解析和批判的意義上，來畫這張《碼頭》，并由此體驗(yàn)一種能夠與心靈相對(duì)應(yīng)的情感，進(jìn)而造就視覺感受中自由意志的產(chǎn)物，探尋精神的自由和釋放。但在具體表達(dá)時(shí)又不可避免地碰到感性與理性的劇烈沖突，恰如其分的制衡或者化解這種沖突則需要不斷地修煉。

10、海灘

帶有某種程度的抒情和恣意是畫《海灘》這張畫時(shí)的狀態(tài)，無為而為、不爭(zhēng)之爭(zhēng)在過程中不露聲色，在結(jié)果里才被察覺。在順應(yīng)自然中的偶然發(fā)現(xiàn)彌足珍貴，有時(shí)它并非你的初衷或本意，但當(dāng)它偶有顯露時(shí)則需考驗(yàn)?zāi)愕纳窠?jīng)敏感度，墨守成規(guī)易對(duì)意外閃現(xiàn)的光彩視而不見或擦肩而過。

11、這張《海景房》是在比較輕松的狀態(tài)中本著嘗試和探尋新經(jīng)驗(yàn)的情形下畫出的，畫面的處理力求肯定、明確，無論厚與薄、線與型的表現(xiàn)均下筆即成，不作反復(fù)和疊加，以至于很多人都以為這是一張寫生作品。

14、長(zhǎng)途大巴過去叫長(zhǎng)途汽車或長(zhǎng)途客車，兒時(shí)的記憶，撫今追昔。

15、《長(zhǎng)寧別墅》是為2010上海世博會(huì)畫的。主辦方要求盡量尊重客觀，似與不似便是最應(yīng)掌握的原則。

18、巡邏艇這張畫是2008年參加“拓展與融合-----中國(guó)現(xiàn)代油畫研究展”的作品，展出時(shí)被懸掛在中國(guó)美術(shù)館園廳的中間位置。其實(shí)這張畫畫的很不順利，盡管用時(shí)不多，但卻跨越了07至08近一年的時(shí)間，尤其畫至半程，畫面總感覺是呆板和木訥地，總也要不到那種想要的東西，很長(zhǎng)一段時(shí)間里都為此感到無奈何惆悵，在擱置了較長(zhǎng)時(shí)間后，我嘗試以逆向程序再畫，才找到了某種所謂的突破，在這個(gè)過程中，我覺得最大的收獲是對(duì)油畫顏料的性能，以及用油的方式上有了新的認(rèn)知。

19、致遠(yuǎn)艦

記得馬蒂斯曾說“面對(duì)物象的表現(xiàn)，不拘泥于實(shí)際，而是反映它能在內(nèi)心深處激起的某種情感”?！吨逻h(yuǎn)艦》為中日甲午戰(zhàn)爭(zhēng)之著名戰(zhàn)艦，采用艦體的局部經(jīng)營(yíng)于畫面和以玫紅色表現(xiàn)，企望拉開具象繪畫對(duì)客觀過于依賴的距離，強(qiáng)調(diào)其主觀表達(dá)與視覺變異是當(dāng)時(shí)的意圖。這張畫在十一屆全國(guó)美展油畫展時(shí)被放在展廳進(jìn)門處比較顯要的位置，但總覺得沒能畫出自己真正想要的那種畫面。

29、?；晗盗兄?/p>

36、在畫都市系列中涉及到的碼頭和船舶等相對(duì)繁雜圖式后，我轉(zhuǎn)而思考以化整為零的方式，從中提取某種個(gè)體圖像單獨(dú)表現(xiàn)，《船系列》就是基于這種考慮出現(xiàn)的又一個(gè)系列作品。

39、 畫《食既》的那個(gè)階段，我特別癡迷于海菲茨的小提琴曲,無論是在畫室還是開車的時(shí)候，全部是聽他的CD，我經(jīng)常把音響的聲音放的很大，大到近乎于震耳發(fā)潰的程度，以此來盡情地享受他那無以言表的高超技藝，時(shí)常被他那種無與倫比的琴技和剃刀般鋒利的音色搞得汗毛都豎將起來，而后，滿腦子里都是這些音符和旋律。然而這些感受是很難在繪畫中得到的，好的或者是特別好的繪畫作品，能令你肅然起敬或者陷入思考。。。。。，能使你的眼睛為之一閃、一亮，卻不會(huì)使你的汗毛豎立起來，這就是視覺和聽覺藝術(shù)訴諸器官功效之區(qū)別。想起吳冠中先生曾說：“小路藝術(shù)養(yǎng)眼，大路藝術(shù)養(yǎng)心”。

40、20世紀(jì)上半葉出現(xiàn)在上海的郵車，消失的風(fēng)景，信筆拈來。

41、陣風(fēng)系列這是一個(gè)側(cè)重體驗(yàn)松弛和材料綜合運(yùn)用的小系列，選擇摩托車作為畫面主體，是因?yàn)檫€算年少時(shí)曾被這種機(jī)械單車迷的近乎神魂顛倒。

47、一本明信片 2009年的某天，一個(gè)以前教過的學(xué)生如約到畫室看我，并帶來一套上世紀(jì)30年代拍攝的蘇州園林明信片，說是閑逛時(shí)在書攤上偶然所得，言我肯定喜歡就特意買了送我，明信片呈橫式長(zhǎng)條狀的，高度類似香煙盒，寬度卻有一尺，明顯區(qū)別于現(xiàn)在常見的明信片，整套十余張顏色發(fā)黃的老圖片，獅子林、雙塔、楓橋、虎丘、滄浪亭等姑蘇園林及古城街景盡在其中，我當(dāng)即眼睛一亮，忙不迭一張張翻看著，嘴里直說好！好！我之所以喜歡這套明信片，是因?yàn)樗^沉了上世紀(jì)初蘇州園林景觀所特有的靜謐、單純、和自然悠遠(yuǎn)的意境，與現(xiàn)在古城的喧鬧、嘈雜、車流如梭形成了鮮明的對(duì)照。我時(shí)常細(xì)細(xì)地端詳這些圖片，想象著近百年前姑蘇古城恬淡、安逸的樣子，石板鋪成的街道、弄堂、以及淡淡地炊煙、偶有輕舟劃過的小河、錯(cuò)落有致的粉墻黛瓦中赫然矗立的雙塔等等，每每端詳這些過去的、雖能傳續(xù)至今但卻物是景非的圖片，都能給我?guī)頍o盡地回味和遐想。因?yàn)檫@些照片，我曾試圖從中找到對(duì)古城的某種情愫，期望以樸素的和最能夠接近我內(nèi)心深處的情懷準(zhǔn)確地畫出它們，但是，又似乎很難找到自己那種冥冥之中真正想要的路境切入畫面，所以，拖了很長(zhǎng)一段時(shí)間也沒有著手去畫，可在內(nèi)心卻依然惦記著這些既近在眼前又已遠(yuǎn)去的圖像。 2010年我要調(diào)離蘇州，去南京藝術(shù)學(xué)院工作。此時(shí)，我已在這座古城整整生活了14個(gè)年頭，當(dāng)坐在高鐵的車廂里，望著窗外疾速遠(yuǎn)去的虎丘斜塔，我忽然意識(shí)到必須畫一個(gè)蘇州系列作品，以紀(jì)念我的這段歷程，《姑蘇系列》就是基于此念，以這套明信片為藍(lán)本畫出的，這個(gè)系列的作品畫幅雖較小，但卻與我的“都市”與“?；辍毕盗欣_了一定的距離，也是我對(duì)這座古城認(rèn)識(shí)、理解的表達(dá)和情感記載。愛過知情重 ，醉過知酒濃。謝謝這座古城和這位已成為高校教師的學(xué)生。

56、繼“巡邏艇”“致遠(yuǎn)艦”后，把煙霧作為畫面形態(tài)因素，并力圖表達(dá)出一種極端感，是我畫阿芙樂爾艦的意圖。視覺形態(tài)和藝術(shù)媒材的變革，是現(xiàn)代藝術(shù)的重要標(biāo)志，任何藝術(shù)都是對(duì)客觀世界的再組合與重新解構(gòu)，舊媒材的使用也應(yīng)是手段與方式的改造和重構(gòu)或是進(jìn)化，如此才利于豐富繪畫語言的手段和表現(xiàn)力，促進(jìn)繪畫視覺觀念的更新。

03、 東山國(guó)賓館

2002年我開始針對(duì)風(fēng)景的現(xiàn)場(chǎng)寫生，當(dāng)時(shí)的畫幅都不大，東山國(guó)賓館就是這一年的深秋所畫的寫生。

07、沂蒙寫生 2003年的初冬，當(dāng)江南依然綠如藍(lán)時(shí)，我?guī)е魂?duì)學(xué)生來到沂蒙山區(qū)寫生。北方冬天來的早，11月的天氣已有些寒風(fēng)凜凜，山中樹木也已成枯黃狀了，這使得我們這隊(duì)人馬，尤其是第一次來到北方的學(xué)生多少有些不適應(yīng)。既來之則安之，待安頓好后，第二天便開始了對(duì)沂蒙山區(qū)的寫生和體驗(yàn)。

12、初到査濟(jì)乍一來到皖南山區(qū)小村查濟(jì)，有種脫離塵囂的感覺，小憩過后天色較晚時(shí)，便畫了這張寫生。

16、樓梯有雨的一天，沒法外出寫生，在住處的小樓里東張張西望望，最后對(duì)著樓梯揣摩來琢磨去的，就有了這張畫。

17 皖南

皖南的新建房屋依然延續(xù)了徽派建筑的風(fēng)格或樣式，但如果純粹客觀的表達(dá)這種形態(tài)，容易落入俗套而索然無味。我爬上屋頂平臺(tái)，統(tǒng)攬視野內(nèi)皖南村落，作畫過程中有意淡化建筑個(gè)體造型特點(diǎn) 強(qiáng)化建筑群的整體結(jié)構(gòu)特征，使之與山脈、田野形成節(jié)奏及強(qiáng)弱變化是畫這張寫生時(shí)的想法。

22、船頭

把船頭置于前景并占據(jù)畫面近半幅的位置，有點(diǎn)類似電影中的主觀鏡頭，略帶有后印象主義傾向的用筆，于不經(jīng)意間流露，爾后貫穿于整個(gè)畫面。

碼頭的油桶之一

我第一次畫這種較大尺寸的寫生，是在太湖東山的小碼頭，畫面主體圍繞著油桶展開，過程還算順利。當(dāng)時(shí)主要是想體驗(yàn)一下大尺幅寫生的感覺，圖個(gè)痛快，幾年后再端詳這張畫，覺得它比起小幅寫生來，能帶給自己更多“另外”的想法，也不枉“大”了這張畫。

碼頭的油桶之三 銹跡斑駁的油桶中間涂著濃烈的橘黃色，在陽光照耀下分外響亮、高亢、耀眼，怦然心動(dòng)的表達(dá)令人亢奮，急切中在畫面要多了不該要的東西。

喘息外出寫生，經(jīng)常會(huì)遇到比較緊張或意外的情景，比如正在畫時(shí)、雨來了，尚未畫完、天黑了，要畫車時(shí)、車開了等等。當(dāng)然，這些不算什么，但它或多或少會(huì)影響人的情緒。提著畫具走在碼頭的石板路上，眼睛左顧右盼東張西望揣摩著搜尋著某種畫面，一艘機(jī)動(dòng)船砰砰叫著像一條大魚靠上了身邊的駁岸，并在海浪的推動(dòng)下一起一伏地波動(dòng)著，船老大言只是短暫停留，我稍猶豫便旋即支起畫布，用較短的時(shí)間趕在船開走之前，畫出了這張名為“喘息”的寫生。

標(biāo)準(zhǔn)房中午小憩后，溫嶺石塘鎮(zhèn)的天空開始降雨，低而厚的云層把光線壓的很暗，令人郁悶。無奈，打開日光燈，縮在門后的墻角處，聽著窗外噼里啪啦的雨點(diǎn)聲和呼呼作響的風(fēng)聲以及嘩啦嘩啦的樹葉聲，悠閑地畫了這張“標(biāo)準(zhǔn)房”。

修理鋪碼頭的修理鋪是為船只做簡(jiǎn)單修理而設(shè)的，看上去像馬路邊的汽車、自行車修理鋪一樣、并無二致。區(qū)別是，一種在路邊，一種在碼頭。

昂克雷 2010年仲夏，應(yīng)邀與南藝同事一起驅(qū)車去無錫陽山寫生，昂克雷便是一同事的私車。

39 陸巷停車場(chǎng)

每次來太湖東山的陸巷，都住在這個(gè)停車場(chǎng)附近，2010年的“五一節(jié)”東山正在修公路，停車場(chǎng)也變成了料場(chǎng)，碩大的石灰堆在陽光的照耀下顯得格外刺眼。藝術(shù)中的再現(xiàn)現(xiàn)實(shí)不是在畫面中照搬現(xiàn)實(shí)，而是再現(xiàn)了藝術(shù)家對(duì)現(xiàn)實(shí)的一種“再認(rèn)識(shí)”，善于觸及一些有悖于日常視覺習(xí)慣的景物，對(duì)思維的活躍和開啟是有裨益的。

40、雕花樓庭院園林式的建筑和池塘對(duì)于我來說并不陌生，但當(dāng)時(shí)看中的是在這個(gè)語境中，撐開的遮陽傘上的條紋由于透視所產(chǎn)生的形式因素，以及這種變化了的規(guī)則與周圍景致的對(duì)應(yīng)關(guān)系。

藩切寫生之一

當(dāng)畫完這張?jiān)谠侥戏械膶懮螅厥讓徱暷切┰?jīng)的寫生畫面，由生疏到熟練的所謂自我滿足和得意于所謂的“辦法”，往往很快就變成了過眼的煙云。積累的目的是不斷地創(chuàng)造，訴諸或者拜倒在藝術(shù)家危險(xiǎn)的技藝之下，會(huì)失去必要的自我破壞性，使繪畫流于模式而無法重新獲得表達(dá)思想情感的力量，或許就是缺乏反省式沉思的結(jié)果。

03. The Metropolis Old Shanghai

The specific thriving cityscape of last century and the visual symbols it brought often attract and intoxicate me. On my arrival in Shanghai in 1982, I was appealed to them. At that moment, with a pen, I sketched several in the Bund and by the Suzhou River. 20 years after that, I was a little timid and disturbed when I painted them in a studio, because I was not so sure whether I could find a proper way to represent the images, to turn spiritual experience into visual images and to transform memories into images. In an ambivalent and complicated mood, I painted “The Metropolis Old Shanghai” about the Bund in old Shanghai within a month, which was exhibited in “the 3rd Selected Paintings Exhibition in China”. It was my first important exhibition, as well as a watershed in my art course.

06. The Shiliupu Wharf

From 2003 to 2006, I was dedicated to the lines in the film Hamlet, especially the monologue of “To be or not to be” by Hamlet. Both the words of Shakespeare and the performance of Sun Daolin were so stunning that I could even blurt out these lines. “The Shiliupu Wharf”, “Beside the Huangpu River” and “The Tram” were painted in that period. I was not sure whether it was influenced by something underlying, or for any other reason. People often relate these paintings with the scar art. A friend named Xu Guosheng from Shanghai once texted me, saying “Modernists need the ups and downs in your art, one similar to the scar art. The past brings a sense of loss to the middle class after their success. Your paintings bring a mixed feeling of prosperity, success, loss and regret. That’s the value of the paintings.”

07. The Wharf

Art is not an attendant of history and reality, but an analyst and repudiator. I would like to paint “The Wharf” in an analytical and critical way. Therefore, I could release an emotion from my soul, at my will. The conflict between perception and reason is inevitable, but I need to balance them appropriately.

10. The Beach

When I painted “The Beach”, I was in a lyrical and arbitrary state. My rule “to work with inaction and to strive without conflict” can only be detected in the result, rather than in the process. Sometimes the value just lies in the occasional discovery, instead of your original intention. Your acuity for the expected splendor is tested, and routinism would probably stop that.

11. “The Sea View House” was painted in a relaxed mood to try and explore, and I dealt with the painting affirmatively and explicitly. Thick or thin, lines or shapes, I finished it directly, without any repetition or overlying. Many people even mistook it for a sketch.

14. The long-distance bus was called a coach or a long-distance passenger car. It was from my childhood memory, just to compare it with the present.

15. “A Villa in Changning District” was painted for the Shanghai Expo. The sponsor needed it to be objective, so I had to balance between its difference and similarity with the original one.

18. The Patrol Vessel

It was exhibited in “Expansion and Fusion – the Contemporary Chinese Oil Paintings Exhibition” in 2008 and was hanged in the middle of the exhibition hall of the National Art Museum of China. Actually, although not too much time was spent, it didn’t come out smoothly, almost lasting a year from 2007 to 2008. When half of it was finished, I felt it was too stiff and dull, without the feeling that I wanted. I was disconsolate for a long period, and had laid it aside for quite a while when I broke it through with a converse procedure. In the process, I mastered the nature of oil paints and the method to use oil. That was probably my biggest gain.

19. Zhiyuan Vessel

Matisse once stated, “Expressions of physical images could be free from reality, but they could reflect the emotions rising from the bottom of the heart.” Zhiyuan Vessel was a notable vessel in the Sino-Japanese War of 1894. I painted part of it particularly with crimson to draw back from the object that representationalism relies too much on, and to emphasize the original intention of subjective expression and visual variation. The painting was exhibited in a conspicuous position of the exhibition hall. But I don’t think I’ve already expressed myself fully.

29. The “Sea Soul” series

36. After finishing the relatively complicated schemas of wharves and vessels in my cityscapes, I tried to break up the whole into parts, to extract one part for special representation. My “vessel” series is just for that consideration.

39. When I was painting “The Second Contact”, I was infatuated with the violin music of Heifetz, no matter when I was staying in my studio or driving. I often turned it up, even to a deafening loudness to enjoy his speechless skills. His incomparable skill and razor-like tamber always made my flesh creep, and my mind was stuffed with the notes and rhythm. However, these feelings could not be expressed in a painting. A fine or exceptional painting will arouse your admiration or meditation, or brighten your eyes up, but it can’t make your flesh creep. That’s probably the difference between visual and audio apparatuses. Just as Mr. Wu Guanzhong said, “Puny art can refine your eyes, but great art can refine your mind.”

40. It was a convenient painting about a mail-cart from the first half of last century in Shanghai, a vanished sight.

41. The “Gust” series

It was a series to relax and experience mixed media. I chose motorbikes as the subject because I was infatuated with it when I was younger.

47. A series of postcards

One day in 2009, a student of mine visited my studio as appointed and brought me a series of postcards of the gardens in Suzhou in the 30s of last century, explaining that it was bought from a bookstall and I would definitely love it. The postcards were transverse strips, as high as a cigarette box, but the width of them was around 30 centimeters. That was totally different from the current postcards. More than ten yellow pictures of gardens and vistas of the old town were presented, including Lion Grove Garden, Double Pagodas, Fengqiao Bridge, Tiger Hill and Canglang Pavilion. My eyes brightened up and I couldn’t help saying “great!” while incessantly looking through these pictures. The reason why I love the postcards is that they deposit the tranquility, purity and distance of the garden sights, in sharp contrast to the rumpus, din and heavy traffic of the old town at present. I often examine these pictures carefully, wondering about the tranquil and cozy old town of Suzhou nearly a hundred years ago. The streets paved with flagstones, the lanes, smoke from the chimneys, canoes passing by the river and the double pagodas rising from the neat pink walls and black tiles, all those images brought me endless aftertaste and reveries although they’d changed a lot. I tried to find sincerity about the old town from these pictures so as to paint them well and truly in an inornate way that was close to my affection, but it seemed to be difficult to break through. Therefore, I left it aside for quite a while, but I kept thinking about these close images that seemed to be far away. In 2010, I left Suzhou to teach in Nanjing University of the Arts. Till then, I’d lived in the old town for 14 years. When I was sitting in the high speed railway carriage, seeing the leaning tower of tiger hill, I suddenly realized that I must paint a series of works in memory of my experience in Suzhou. The postcards were the blueprint of my paintings. Although these were in smaller sizes, they were distinguished from my “Landscape” series and “Sea Soul” series and presented my recognition, understanding and emotions for the city. You will realize its power after something is gone. Thanks to the city and the student who has already become a teacher in a college.

56. After I finished “The Patrol Vessel” and “Zhiyuan Vessel”, I chose to portray smog in an extreme way, so I painted “The Aphrodite”. The innovation of visual forms and artistic media is an important symbol of contemporary art. Any art form is the reassembly and deconstruction of the objective world. Old media are reused after they are improved and altered to enrich the artistic language and expressions, or to update the visual perception.

03. The Dongshan State Guesthouse It was drawn in 2002 when I started to sketch landscapes. At that time, my paintings were not in large sizes. And “The Dongshan State Guesthouse” was produced in late autumn of that year.

07. Sketches in Yimeng

In the early winter of 2003, I guided a group of students to the mountainous area in Yimeng to sketch when it was still quite green in South China. Winter comes earlier in the north of China. It was a little bit chilly in November, and leaves had already turned yellow. These changes made us, especially those who came to the north for the first time, quite uncomfortable. We decided to cross the bridge since we’d come to it. After we settled down, we started to experience the mountainous area of Yimeng and sketched its sceneries.

12. Arriving Zhaji

On my arrival to the village of Zhaji in the south of Anhui province, I felt I had escaped from the madding crowd. After a break when it turned dark, I finished the sketch.

16. The Staircase

It was a rainy day and I couldn’t sketch out. I glanced around my place and the stairs aroused my interest. Then I finished it.

17. South of Anhui Province

The architecture in the south of Anhui province is of its own style. It would be conventional and dull to paint it objectively. So I climbed up the flat roof to have an overall view of the whole village. I weakened the individual characteristics of the architecture, but strengthened the integral features, to create a rhythm and strength between mountains and fields in the sketch.

22. The Prow

The prow was placed in the foreground and took up almost half of the painting. It was similar to a subjective spot in a film, as well as a post-impressionism one.

The Jerricans in the Wharf No 1

This was the first time for me to sketch in such a large size. It was going smoothly about the jerricans in a small dock in Dongshan of Taihu Lake. At that time, I was just trying to experience a large sketch to seek momentary gratification. Years later when I examined it again, I found, compared with smaller sketches, it brought me some “other” ideas. It was not a waste of its size.

The Jerricans in the Wharf No 3

The rusty jerricans were painted with bright orange, and shone in the sun. The expression stimulated me and I added too much in the painting.

Breather

When I sketched out, it was quite usual to be in an accident or in an uneasy situation. For instance, it rained or turned dark before you finished painting, or the car was driven away when you were drawing it. These were just trifles but they might have a negative influence on your mood. When I walked on the flagging of the dock with my paraphernalia in hand, I glanced around for something to paint, only to see a powerboat approaching the shore like a lingcod, fluctuating in the wave. The boatman said it was just a whistle stop. After an instant of hesitation, I unfolded my canvas to finish the sketch named “Breather” in a short period before the boat sailed off.

A Standard Room

It started to rain after a noon break in Shitang County in Wenling. The thick low cloud made me gloomy with dim light. I had no choice but to turn on the fluorescent lamp, and leisurely painted “A Standard Room” with the cracking sound of raindrops, wind and leaves.

A Repair Shop

A repair shop in the wharf is set for simple repairs of ships, one similar to repair shops for cars and bikes by the roadside. The only difference is one by the roadside and the other in the wharf.

Enclave

In the midsummer of 2010, I was invited by colleagues from Nanjing University of the Arts to sketch in Yangshan of Wuxi. Enclave was a car of one colleague.

39. The Parking Lot in Luxiang

Every time I came to Luxiang in Dongshan of Taihu Lake, I lived near the parking lot. On the May Day in 2010, a road in Dongshan was under construction and the parking lot was turned into a stock ground. Piles of lime in the sun were rather glaring. The recurrence of reality in art is not a copy of it, but a re-cognition by the artist. To touch scenes that go against ordinary visual experience could bestead your thoughts.

40. A Courtyard with Wood-Caving Pavilions

A garden style architecture and pond is no stranger to me. And I was into the context of the stripes in the sunshade in a perspective form, and its altered formula together with the surroundings.

A Sketch in Fanqie

I reviewed some sketches after I finished one in Fanqie of Vietnam. All the skills of drawing for me to be indulged in were soon gone like passing clouds. The purpose of accumulation is to create constantly, and the resort to artistic skills would destroy oneself, leaving paintings without any power to express your emotions. That was probably the consequence of lack of self reflection.