当《荒园》组画第一次在我眼前铺展时,一股沉重的阴郁之气立即笼罩着我的身心,使我感到压抑与沉闷。幸好那些云气雾气的空白,让我有了些许缓解的喘息。画面上,斗拱飞檐,石柱门窗,厚实的风火墙,残破的院落,晃动着青光的石板路,被夸张、解构成情感符号,棋子般任由作者调遣,荒诞地放置、架构或重复叠压。这一组画之一、之二、之三、之六尚且有象可寻,可之四、之五、之七基本上已难觅其符号的完整了。它们的物性逻辑早已不复存在。但冥冥之中,我仍 When the painting of “The Waste Land” first time spread in front of me, a heavy gloomy atmosphere immediately shrouded my body and mind, making me feel depressed and dull. Fortunately, those clouds of gas blank, let me have some relief breathing. On the screen, brackets and cornices, pillars and doors, thick fire walls, broken courtyards, slate stone road shaking, exaggerated, the formation of emotional symbols, pawn-like author field, absurdly placed, architecture or overlap . One, two, three, and six of this group of paintings are as good as they can be found, but four, five and seven of them are basically hard to find the completeness of their symbols. Their logic of physics no longer exists. But somewhere, I am still