(一)绘画,对于庹光焰而言,在绝大多数时候,是作为现实与心灵的镜像而存在的。现实与心灵,一个是客体,一个是主体,彼此既相对的独立,也可以密切维系。在庹光焰的作品中,现实是意义生效的起点,但艺术家并不希望作品仅仅停留在现实的表层,因为一旦现实成为画面的绝对主体,那么艺术的价值就会丧失。同样,艺术家也不希望自己的作品去构筑一个精神的乌托邦,一个形而上的世界,因为在他看来, (A) painting, for the flames of light, most of the time, as a mirror of reality and the soul exists. Reality and the soul, one is the object, one is the main body, each other is relatively independent, but also can be closely maintained. In flamboyant works, reality is the starting point for the meaning to come into effect, but the artist does not want the work to remain merely on the surface of reality, for once the reality becomes the absolute subject of the picture, the value of art is lost. Similarly, artists do not want their works to build a spiritual utopia, a metaphysical world, because in his view,