《念》這幅油畫，借用了剪刀這個(gè)載體以及其處于的狀態(tài)，用純粹的寫實(shí)手法和較為輕松的筆意，來表現(xiàn)“念”這個(gè)字所帶給我的心理感受。

畫面描繪的是一把擁有歲月痕跡的剪刀被掛起被浸泡，上下皆有作用力，受到束縛，處于中間卻又擁有一定的空間，微痛，微酸，憂患，冷寂而糾結(jié)。這樣的物象被轉(zhuǎn)換為“念”這個(gè)意象來讓觀眾體會(huì)其中微妙的心理效應(yīng)。

“念”是人心情低落時(shí)的心理狀態(tài)，是一種思考,念想，也是一份思念，在佛學(xué)中又被視為一種記憶。跟著思念與念想而引申出來的便是憂患與恐懼。這與畫面所傳達(dá)的意境如出一轍。

畫面意在挖掘人的內(nèi)心潛藏感受。在現(xiàn)代生活表面的富足與欲望背后人們的內(nèi)心是脆弱而糾結(jié)的，心中常生念念。而這些念念往往是被用來逃避的。當(dāng)我們直視它時(shí)，內(nèi)心則泛起隱隱的痛。

這幅作品是我運(yùn)用油畫語言來進(jìn)行自我內(nèi)心對(duì)話的一種探索，非常符合當(dāng)今社會(huì)人群的心理需求。人們內(nèi)心潛藏的念念，時(shí)常會(huì)作痛，只有把它揭開，才能過得更真實(shí)。

王怡

2011-11于北京清華大學(xué)

Missing

Missing, with the carrier of a pair of scissors and their state, presents the psychological feelings the word “missing” brings me in a purely realistic and relaxed style.

It portrays a pair of weathered scissors being hanged and soaked, being pulled from above and under. They are restricted, but still have some room, slightly suffering, aching, miserable, quiet, lonely and confused. The image was transformed into the concept of “missing” to inform audiences of the subtle psychological effect.

“Missing” appears when people feel down, is about thinking, about yearning, and is a memory in Buddhism. Misery and fear also extend from missing, which was quite consistent to the prospects in the painting.

The painting intends to tap the potential feelings of people. Behind the superficial affluence and desire of modern life, the souls of people are fragile and confused, with thoughts in which they tend to flee from reality. When people have to face it, they will have a dull ache in the heart.

The painting is an exploration of my inner dialogue in an oil painting language, which meets the psychological demand of society. It often aches when people have the underlying missing, and only by unveiling it can people live a truer life.

Wang Yi

November 2011, in Tsinghua University, Beijing