时至今日,他已不需要高贵的字眼来承载自信,一种隐秘的草根的状态使他自在,那提示他从何而来,同时也是他最大的财富。他宁肯和野狗一样,用野生这个字眼形容他的过往生活,那令他骄傲,显示他的自由与宽广,显示他作为一个艺术家不被豢养的尊严。二十五年前,毕加索的原作在中国美术馆展出时,二十岁的方力钧从唐山陶瓷二厂实习结束,青年时代学习绘画的主动意识和认真态度,方力钧自己用“无耻”来形容,或者矫情点说,那是执着。当记载方力钧25年个人生涯的重要作品出现在台湾北美馆的展墙上,时空也在此交错。曾经的独立、漂泊、一无所有、无所顾忌而又漫无目的的流浪生活,才成就了我们今天看到的艺术家方力钧,以及他更加直接、更借贴近世俗生活、更加本能、更加尊重生命体验的艺术语言。 To this day, he does not need noble words to carry self-confidence, a hidden state of grassroots makes him comfortable, suggesting that he came from, but also his greatest wealth. Like the wild dogs, he preferred to describe his past life in terms of wildness, which made him proud, showing his freedom and breadth, showing his dignity as an artist. Twenty-five years ago, while Picasso’s original work was on display in the China Art Museum, Fang Lijun, 20, ended his internship with Tangshan Ceramics Factory and learned the proactive and conscientious attitude of painting in his youth. Fang Lijun himself used “shamelessly” Described, or hypocritical point that it is persistent. When the account of Fang Lijun 25 years of personal career important works appeared in the exhibition of North American Museum of Taiwan wall, space and time are also staggered here. The independent, wandering, all-out, unscrupulous and purposeless wandering life has made us the artist Fang Lijun we see today, as well as his more direct, more secular, more instinctive and more respectful life experience Art language.