在中国当代“抽象”绘画界,王川是履历最久,投入最深的一位。王川娴习形而上思辩,对宗教和哲学的终极追求一直有飞蛾扑火的着迷。他对现实世界既充满幻想和欲望,同时也不屑于之和不知所措。王川是个矛盾体。物质和精神都不能使他感到安稳满足。他永远自觉立在边缘,无法归属,而思辩与画画是他跨越空虚与飘浮的指标。不过指标又总是不停随着生命移动。上世纪70年代末他的作品反映了“伤痕”时代,之后就不断在图式上变化。在上世纪80年代中,从社会写实手法发展到象征化的变形图案,这时的主题 In China’s contemporary “abstract” painting circles, Wang Chuan is the longest-lived and one of the most involved. Wang Chuanxian habitual metaphysical, the ultimate pursuit of religion and philosophy has always been moths fascinated by the fire. He is full of fantasy and desire for the real world, but also disdain and overwhelmed. Wang Chuan is a contradictory body. Neither material nor mental satisfaction made him feel secure. He always consciously set the edge, can not belong, and thinking and painting is his index of emptiness and floating. However, indicators are always moving with life. His works reflected the “Scar” era in the late 1970s, and then continuously changed in schemata. In the 1980s, from the social realistic approach to the symbolic deformation pattern, the theme at this time