初识杨文萍和她的创作,是2008年在她东营那间尚未拆迁的狭窄工作室。当看到那批“鸡冠花”系列油画作品和另一些如欲望般无休止蔓延的怪异植物和动物题材绘画时,人们可能会理所当然地按照“女性主义”的理论模型去理解和想象杨文萍和她的作品——似乎“花”与“女性”的“完美”结合只能具有一种特定的意义。然而,如果一位艺术家及其创作的价值仅仅在于映证我们早已习惯的定势思维,乃至完全沦为某种“理论”的“奴隶”时,要么是 First met Yang Wenping and her creation, in 2008 in her Dongying that has not yet been relocated narrow studio. When one sees the series of “cockscomb” oil paintings and other weird plant and animal themes painting as they wish, there is no doubt that one can understand and follow the theoretical model of “feminism.” Imagine Yang Wenping and her works - it seems that the combination of “flower ” and “perfect ” of “woman ” can only have a specific meaning. However, if the value of an artist and his creation is merely a reflection of the established thinking that we are accustomed to, or even completely reduced to a “slave” of some “theory,” either