在特殊的洪荒年代,张建新体悟过的物质匮乏和生存焦虑,曾经震及过他心中隐藏的艺术梦,使他在不解的矛盾心理中,被卷入绵延而辽阔的理想中心。或者更确切地说,张建新的历史意识在不断的更新与重复之中,积蕴了抽象而立体的审美经验。在后经济时代的文化语境里,张建新始终以笔为旗,终究道破了一重天机,使得原本壁垒森严的艺术创作从主旋律模式中解放出来。他的艺术语言里,隐含着某种实验性的、解构性的自我期待,同时也奠基于在能指关系与所指关系中游刃有余地获取自由的信念。 During the special prehistoric era, Zhang Jianxin realized the material scarcity and the anxiety of existence. He once shocked and hidden the dream of art hidden in his mind, making him caught up in the long and vast ideal center in the puzzled ambivalence. Or rather, Zhang Jianxin’s historical consciousness is continuously updated and repeated, accumulating abstract and three-dimensional aesthetic experiences. In the cultural context of the post-economic era, Zhang always took the pen as the flag, eventually breaking through the superficiality, making the originally heavily guarded artistic creation from the main melody mode liberated. His artistic language implies some kind of experimental, deconstructive self-expectation, but it also rests on the belief that there is enough freedom in the relationship and relationship.