近来尝试用中国墨作黑向系列抽象绘画。借蕴含着中国传统文化精神的材质,体验源于中国墨的意境,验证由墨材生成抽象绘画的可能性,拓展抽象艺术日渐萎缩的纯粹观念。“抽象”(Abstract)既有理论上的、纯粹概念的含义,也有抽取出的、无形的、使分离的等意思,其艺术形态明显与传统写实绘画相异~(〔1〕)。具体地说,抽象是根据某种观念“抽取”出具体事物中共同的具象形态,体现出事物本质的属性,并以一种可能的方式抽取和解构传统要素。如对绘画中的色 Recently I tried to use Chinese ink as a black-oriented series of abstract paintings. By embracing the material with Chinese traditional cultural spirit, experiencing the artistic conception originating from Chinese ink, verifying the possibility of producing abstract paintings with ink materials, and expanding the pure concept of shrinking abstract art. “Abstract ” has the meanings of both purely theoretical and pure concepts as well as extracted, invisible, and separate meanings, whose artistic forms are obviously different from the traditional realistic paintings (1). Specifically, abstraction is based on a concept of “drawing” out of the common concrete forms of the specific things, reflecting the nature of things, and in a possible way to extract and deconstruction of traditional elements. As the color of the painting