乍一看于安东的画很容易把它和超现实主义联系起来,这种在80年代风靡85运动的风格现在似乎已相去遥远了。超现实主义在中国当代艺术一度盛行,有其两个重要的原因:一是其写实性;中国的艺术家大都是科班出身,有着较好的写实功底,因而也有着一种排遗不掉的写实情结。二是其叙事性,这种叙事性包括思想的陈述与事实的陈述,在一个思想大于形式的时代,这种具有明显叙事功能的风格很容易成为思想与载体。于安东虽然不是有意追随超现实主义,但这两个重要的特征也是构成其独特风格的出发点。是样式找到了思想,还是思想找到了样式。在于安东的艺术历程中可能是两者兼而有之,但最终是思想改造了样式。 At first glance, Anton’s paintings make it easy to relate it to surrealism, a style that has become so popular in the 1980s that it seems far away. Surrealism was once prevalent in China. There are two important reasons for this: First, its realistic character. Most Chinese artists are graduates of science classes and have a good realistic background. Therefore, they also have an unforgettable realistic Complex. The second is its narrative, this narrative, including statements of ideas and factual statements, in an era of thinking is greater than the form, this obvious narrative function of the style is easy to become thought and carrier. Although Anton did not intend to follow Surrealism, these two important features are also the starting point for forming his unique style. Is the style to find the idea, or thinking to find the style. Is that Anton’s art may be both the course of the art, but in the end it is thought to transform the style.