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澳门画家缨鹏飞先生与笔者交流虽处近时,但其实我已较早成为其抽象艺术的热诚观者。抑或是出于艺术同行的共鸣,让我体味出某种熟悉与陌生。谓其熟悉,是因为由形象的绘画走向绘画的形象,渐已成为90年代中国画家共识,在此种旨于艺术本体复归与拓展的艺术趋向中,抽象艺术的探索应不失为其中可贵而有效途径之一。缪先生的作品由此启迪和感应笔者由衷的心意所在,那即是中国艺术家面临的选择和应负的使命;谓其陌生,是因为在探索艺术本体的趋势里,确乎多见观念与技术脱节、心态与个性错置、矫饰与表现混同等抽象艺术的误区,而令人耳目一新的是,作者将抽象艺术的探索支点,置于形式之中深层的底蕴发现,不囿
Although Mr. Pengfei, a Macau painter, has been communicating with the author at a recent moment, I actually became an avid observer of her abstract art earlier. Or out of the resonance of the art counterparts, let me appreciate some familiar and unfamiliar. It is because the image from the image painting to the painting has gradually become the consensus of the Chinese painters in the 1990s. In this artistic tendency aimed at the restoration and expansion of the art noumenon, the exploration of abstract art should be regarded as a precious and effective way one. This is the Chinese artist’s choice and the mission that should be shouldered. It is because of the strangeness of exploring the art noumenon that the concept and technology are indeed out of touch with each other , Misjudgment of attitude and personality, misinterpretation and confusion of performance, etc. What is refreshing is that the author discovers the deep exploration of abstract art in the form,