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在我的艺术视野里,任继民是一个画家,一个我认为的真正意义上的画家。我对一个画家的存在的确认不是因为他画了多少画,而是他画没画出只属于他的风格与面貌。这并不意味着我是从美术史的意义上来判断,事实上,我仅仅是从艺术的本质——创造这一体认的角度,进行我的认知,因为美术史毕竟是一个高度概括后的产物,挂一漏万是它的常规性方式。面对强大的中国画传统,一个画家如能在某一方面有所发现和创造,就已经是一个优秀画家了,就具有美术史意义了。
In my artistic vision, Ren Jimin is a painter, a real painter of mine that I think. My confirmation of the existence of an artist is not because of the number of paintings he draws, but of the style and appearance of his paintings that are not his own. This does not mean that I judge from the perspective of art history. In fact, I only came to realize my perception from the point of view of creating art from the essence of art. Art history is, after all, a highly generalized The product, hanging a leak is its conventional way. In the face of a strong tradition of Chinese painting, an artist who has been able to discover and create something in a certain way is already a good painter and has the significance of art history.