Throughout these years, painting has given me a chance to feel my internal individualism that encourages me to think and to reflect myself to the public through art. During these years, I have truly realized the happiness and dignity of art and life. What I have learned from these past years is that there is always a lonely and sensitive internal world that we pertain, behind what it looks like superficially in the world that we live in. Besides the interpersonal emotional struggles, sometimes we can also have spiritual moves on natural beauties, such as a brick, a door, a wall, a stream, and a flower. I would say I am a sensitive person, and it is also because of such innate sensibility, I am able to gather more materials for the subjects of my creation, and to present my works in a diverse way.

我喜欢深沉稳重的色调，这样可以让我直觉感受到那绘画生命的庄严，也透露出我对所描绘事物的感情之认真与执着。我喜欢将记忆中的事物做无尽的联想，让我的想象在驰骋中，穿越过时空的限制，也让我的画面可以摆脱不必要的叙述，只求情怀单纯地在意象中浮现出来。做为一位创作艺术工作者，我的画就如同我的生活日记般，能婉约含蓄的表达我日常生活中的感触。

Personally I like deep and stable colors, as they give me a sense of dignity of art, as well as seriousness and continuity of my passion on the objects/ events that I would like to depict. I enjoy thinking unlimitedly of the objects in my memory. Therefore, I can break the spatial constraints, and avoid any unnecessary explanations when creating. All I want is the pure reflection of my emotions and passions, without limits or noises. As an artist creating diverse types of works, my paintings are like my diaries. They can implicitly reveal what I have gained in my daily thoughts through my personal experiences.

我深知形色点线的抒情性功能，在运笔过程中「布受笔、笔受腕、腕受心」的心灵对手对画笔的支配作用，在画布上运行的每一笔一划一顿一挫，每一笔线的每一颤动，无不是心灵的节奏与轨迹。运笔作画的过程，实则就是情感心绪的物化过程；一点一拂，无不是心灵物化之载体。油画笔触和画刀的运用，何尝不是如此？我作画时无疑有着对画画预定的通盘把握，但画面色调在层层复层层的万千笔触及其色彩的描画、迭压、覆盖、渗露之中，又不时情随物变，物以情迁，表现出必然中的偶然，控制中的随机。

I understand the emotional functions of colors, points, and lines very well. There are dominance-subordinate relationships among canvas, brushes, wrestles, and hearts: canvas to brushes, brushes to wrestles, wrestles to hearts. Every stroke and every movement on the canvas are the temples of heart. In sum, the processing of painting is the process of materialization of our spiritual emotions. Therefore, to me the uses of brushes when painting are related to what I think internally. Often times I have generated some ideas in my mind on what is to be painted on my canvas; however, in the process of depicting, covering, layering and reflecting, I always changed my initial plans. This is the notion of randomness in control, as it is necessary for creating a piece of emotionally sensitive artwork.

我喜欢善于用刀，刀对油彩的敷贴、刮制、牵引、切削，有时造成平滑痛快的块面，有时又造成顿断参差毛糙的小点与线条──一种特异于国画却又殊途同归的表现性油画线条。当然，刀的运用必须与笔的描绘相结合，富于色彩的笔触仍然是最富表现力的形式。我的创作中很少用人们习用的平摆上去的规则笔触，我会十分灵动地变幻着用笔的力度与方向，以造成笔触形态的变化无穷。有时，干涩的「皴擦」使下边的色彩、布纹、肌理若隐若现，色彩丰厚而斑烂；有时润湿的用笔则造成一片朦胧，恍而神秘；断断续续、或实或虚的线条不时穿插、切割画面，破坏着块面的板滞，轻快而灵动；而细碎不定形的大量色斑、色点与色线在画面各处游动、闪烁，更呈现出珠宝般的富丽与华贵。这种参差错落、变动不定的复杂笔触、复杂色彩与事先预置的做底肌理有机天成的结合，又形成其油画斑驳陆离的表面效果。我的油画色彩保持了画种的深沉特色，厚重中不乏明快，细腻中结合着粗犷，复杂与丰富中包蕴着单纯与明洁……。

I enjoy using painting knifes for my works. Knives can create different forms and shapes of oil paints on the canvases, and they can generate different sensations and meanings to the audiences. Of course the knowledge of using brushes is highly relevant to using knives for painting, as the previous one is still the best way to show the power of colors on painting. Meanwhile, I seldom use the common regular stokes that people often use when painting, as I always strategically change the strengths and directions of my brush. By doing so, there will be an ever-changing forms of strokes on the canvases. Sometimes, I paint with very dry brushes to form implicit textures with many colors. Sometimes, I paint with wet brushes to create a massive piece of color, creating a secret sense. Sometimes I would use dotted and broken lines cutting through the pages to create jewelry-like luxurious sense for my painting. In general, I integrate different uses of brushes by creating diverse styles of forms and shapes, to give my paintings more vivid impressions to the audiences.

整体上有着点体的氛围，又有局部的意味。不难把握其画面的整体色调及其氛围，也不妨的玩味每一局部，在那层层迭压又层层参差显露的复杂到叹为观止的色彩群落中，却充满着无数的矛盾与统一。大块群落间矛盾冲突有着或大或小的中间群落调和，小块群落内部也有着变幻幽微冷暖色调与色阶的突进与缓冲。在我的作画上是个色彩品味的过程，也是情感体验与宣泄的过程。细腻地咀嚼着每一笔触的跳荡，舒服地品味着每一色块的构成。一边体味、一边调整，色彩在画中逐渐地丰满，情感在色彩中步地积淀，作画的过程成为享受色彩快感精神的圣餐。

The unique style of my work is probably the sense of dotted and brokenness within the sense of completeness. The audiences can get the general sense of the painting by looking at the big picture easily, while they can also analyze the smaller portions of the picture by looking at the dots and broken strokes. Looking at my work is like going through a process of tasting colors, as well as experiencing and releasing emotions. Digesting every movement of the strokes, and comfortably tasting every form of colors on the canvases are very enjoyable processes for the audiences.

我相信绘画是非常自我的，我应该有我的绘画语言，有我的主观色彩与造型，有我的绘画意识风格。这些年，在努力中，自己逐渐能随心顺性的挥洒，自由自在的创作，从绘画中获得对生命的自我肯定，绘画的快乐丰富了我的生活。

I believe that painting is a highly individualized process for everyone. I am supposed to have my own language to decode my artworks. I have to have my subject colors and shapes, and my own style of artistic ideology. Throughout these years, with efforts, I have eventually become an artist who can freely create his arts without limitations. I have gained self-actualization through painting, and the happiness of painting has broadened my life.

 

游守中2007入秋笔

Shou-Zhong Yo

Written in early fall 2007