学术主持：夏可君
       策 展 人：简斌  江心岛
       策展助理：刘晶
       展览事务：赵贤
       开幕酒会：2013年8月4日下午15:00
       展览时间：2013年8月4日——2013年8月9日
       展览场馆：北京上苑艺术馆
       展览地址：北京市怀柔区桥梓艺术公社内  京承高速公路12出口右拐过水渠西行2公里良善庄路口北行到底右拐300米路北

       展览前言：
       肖毓方的绘画：为这个乱象的时代写照
       肖毓方的作品，无论是风格还是表现形式，独立、异样，透着一丝神秘。我们这个社会是一个诸多因素混杂浮沉的乱象时代，一旦我们的欲望，彼此浑浊的欲望搅合在一起，而且欲望开始繁殖并且开始吞噬一切，我们这个时代就成为一个饕餮的时代，一个怪兽的时代，因而导致了我们这个时代的情感面对现代主义所发生的冲突。
       肖毓方不仅仅是洞见到这个时代的内在繁杂面孔，而且还以独特的笔法来呈现，这是另一种带有神秘色彩的观照模式，是一种驳杂的玄观：一方面来自于楚国巫文化的那种与万物同体，以及魂魄相互感应的感知方式，因此画面带有一种符箓的文字图像性；另一方面则保留了原始的变形方式。有着图像性，还有着姿势性，是对某种混杂变化事态的总体呈现，因此，肖毓方在作画时，把带有巫魅符箓的文字，与事物的图像特征，以及事物可能展开的姿态，内在关联起来，套叠起来，让书写性的笔触或者线条自由穿越，相互重叠，有着立体派的那种视觉重叠，同时加入重彩的颜色加以突出某些局部，带来一种光怪陆离效果的同时，也带来一种视觉的迷宫。在此混沌状态中，事物都在萌发，彼此延伸蔓延，相互纠结与缠斗，还有着相互传染的生成效果，是一个个可能世界的潜能状态。
       有时候画面总是有一个掩藏在乱象之中的头颅或者一双眼睛，似乎那是一个要从纠缠里面要挣脱出来的梦想者，要看清世界的真相，但乱象之中，事物都处于一种半迷醉状态，因此出现了某种欲望的表演性，画面上看起来好像脸谱的形象似乎是戏剧人物，但都被时代的欲望抹上了一层怪异的颜色，每个人都在极力表演，但可能表演的是他人，或者说对于一个有着巫魅感受的艺术家而言，我们所有人其实仅仅是欲望的不同化身，因此，一旦这个表演者痛苦的面孔试图穿越出来，就让这个画面充满了一种内在的焦灼。肖毓方以其自己对世道人情的观察，以自己的视觉感受呈现出了我们这个世代生命的生存处境。
       Our era is mixed that developed in our "minds" the early modernistic thought, While elegant, we have no design imagination for procedure, only the use of mindless tools. Such overlap resulted in this era of disarray. You might transmit pre-modern emotions using post modernistic technology.then our era will become a glutton era; a monster era.
       Xiao Yufang not only perceived the inner complexity of this era, but also showed a unique pen craft. This is another mode that bears mystery, one heterogeneous mysterious viewpoint. One side comes from the sorcery culture of the Chu country; a oneness with creation as well as a mode of perception that interacts with the soul so the pictures have one kind of symbol character image.On the other hand, it keeps the original mode of distortion that may be interlinked to the primitive poetic intuition <Shan Hai Jing>. All things have a prototype like animals, but having this intuition can also be implemented into painting technique. This realization comes from Chinese characters writing features. As a Chinese character has images,it also has posture that is an overall presentation of some unique situation. Xiao Yufang put the witchcraft characters’ image features and extending posture of things together. He also overlapped the writing brushwork or lines freely across, which has the visual overlap of a cubist while at the same time adding heavy color painting stressing some partialities to bring psychedelic effects and a visual of each other's extended spread interwined like a dogfight. It also has the cross-infection of the generational effect that's a possible view of the potential state.
       Sometimes there is a skull or eyes in the pictures that are hidden in the chaos. While a visionary wants to struggle out of the chaos to see the true world, during the chaos things stay in a state of half intoxication. That produces desire to perform. The images that look like masks in the pictures might be the dramatic characters, but all in the era desire to have a strange colour. Everybody tries their best to perform, but only can perform for other people or artists who have a knowledge of witchcraft. All of us have different incarnations of desire,so once the performer’s painful expression tries to pass through, then it gives the full picture of a kind of inner anxiety. Xiao Yufang tries to use the observation of the way of the world and also his visual experence to show us the circumstances of generational life survival.