记得我曾写过一篇关于梦的文章,开头写到:那一年天公使倔,一阵大旱,一阵荒涝,我家后院的那片洼地几乎成了我天然的“游乐场”。积水时我忘情于戏水,水去田千那一片龟裂纹又成了我无限幻想、遐思的精神家园。有一天我被那泥沾腥腻的泥团吸引,从此那里就成了我驰骋想象力的大舞台。我把我理解到的和不甚理解的东西塑成了怪人、鬼脸。直到后来,我上学、成人、正式作艺术品。我心里的“梦”只是作为一个童年生活的向往和幻觉的真实体验,它已远远区别于梦境之中的梦。选择“梦”做为创作契机,是因为梦是人生活长期的沉淀,和艺术的雏形仅一步之遥。 I remembered that I had written an essay on dreams and began with the remark: That day the minister was stubborn, a severe drought and a raging flood. The depression in my backyard almost became my natural “playground.” When I stagnated water, I forgot to play in the water, and the water went to Tian-han that cracked the turtle and became my infinite illusion, reverie spiritual homeland. One day I was attracted by that muddy muddy clay, from there I became the big stage of riding imagination. I made up a weirdo, a grimace of what I understood and did not understand. Until then, I go to school, adult, formally art. The “dream” in my heart is only a true experience of the longing and illusion of childhood, which has been far from the dream in the dream. The choice of “dream” as an opportunity for creation is because dreams are the long-term sedimentation of human life and are only a single step away from the embryonic form of art.