作为新时代新生力量的版画作者,他们多是80、90后,由于他们所处的年代及成长经历,让我们很难再从他们的作品中发现象征革命的红色记忆。因为传统与当下文化的碰撞,寻求奇异刺激就成为了“80-90”后青年艺术家们一种普遍存在的心理,他们渴望新形式本身所具有的独特的精神。在他们的版画创作中,“丑”作为审美范畴的重要角色也必然成为了年轻艺术家们描绘的重要角色。在当今中国年青一代的版画创作中“丑态”逐渐凸显,从最早前的奇险,古拙,崇高等形态进一步转向生活常态中:病态的、畸形的、不和谐的、丑陋的等形态。 As print editors of the new generation, they are mostly 80 and 90. Due to their age and growing experience, it is very hard for us to find the revolutionary red memories in their works. Because of the clashes between tradition and present culture, the pursuit of singular excitement has become a ubiquitous psychology of young artists after 80-90, who long for the unique spirit of the new form itself. In their printmaking, the important role of “ugly” as an aesthetic category is bound to become an important part of young artists’ portrayal. In today’s Chinese younger generation’s printmaking creations, the “ugly state” has gradually become more prominent. From the earliest forms of odd adventure, ancient clumsyness, and lofty attitude, it has been further shifted to the normal state of life: morbid, anomalous, discordant and ugly.