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如同吴华的自述，对于一个与物理现实无法脱清纠葛的人而言，这是她的心灵日记，它从灰暗的日常中萌芽、生长、缠绕、愈合，在现实中“挣扎求生”而“释放重生”。
“生”的图画日记会是什么样的面貌？它可以“构成”（construct），它是有关建构的；可以“作图”（draft），它是一丝不苟的经营；可以“描绘”（draw），它是关于物质形态的呈现的；可以“渲染”（render），它是关于事物无限弥漫的表象和质地的，最后才是“绘画”（paint） ——吴华的“绘画”恰恰游离在四种意向之间，它追随着艺术家的多种身份和心绪而变化，就像有机生命本身一样呈现出不同的面貌，并不囿于某种固定的风格。
亨利·佛西隆（Henri Focillon）说，风格会随着历史的发展而变化，只有艺术形式的“生命”保持着连续性，它贯穿了空间、心灵、物质、时间的王国。对于吴华这样有着多种训练的艺术家而言，空间、心灵、物质、时间也就是关于建构，运思，描摹，铺陈——她用“绘画”中一以贯之的“生命”将它们统合为一。
SHENG
By Ke Yang Tang
The character"生（Sheng）"embodies an array of meaningsincluding life，birth，growth，rawness，boldness， and so on.
This is a diary of Wu Hua as afugitive from reality as she introducesus to her search for growth， healingand rebirth.In short，this is her searchfor "Sheng".
In the attempt to manifest"Sheng"， one could construct itsstructure，draft its organization，drawits body， or render its impressions. YetWu Hua's paintings linger betweenthe four techniques； they are notconfined by any of the four， yet theyfollow the ever-changing identitiesand emotions of the artist - like theinfinite forms and presentations oforganic lives，they are not boundedby any singularity.
Wu sees space as structure， spiritas the exercise of the mind， material astracing， and time as arrangement -she combines these elements with the"life" of painting. Unlike architectureillustrations， Wu's strokes exceed the limits of color， composition and shape ；they create a space， a projection ofthe artist' sinner being ； they mapout the nature's paths， and bring"formation"through the journey oftim
Henri Focillon once said that thestyle of art changes with time，butit is the life of the artistic form thattranscends space， spirit， material， andtime.Wu sees space as structure， spiritas the exercise of the mind， materialas tracing， and time as arrangement - sheintegrates these elements withthe soul of painting and projects herinner being with the strokes of herworks.
“生”的图画日记会是什么样的面貌？它可以“构成”（construct），它是有关建构的；可以“作图”（draft），它是一丝不苟的经营；可以“描绘”（draw），它是关于物质形态的呈现的；可以“渲染”（render），它是关于事物无限弥漫的表象和质地的，最后才是“绘画”（paint） ——吴华的“绘画”恰恰游离在四种意向之间，它追随着艺术家的多种身份和心绪而变化，就像有机生命本身一样呈现出不同的面貌，并不囿于某种固定的风格。
亨利·佛西隆（Henri Focillon）说，风格会随着历史的发展而变化，只有艺术形式的“生命”保持着连续性，它贯穿了空间、心灵、物质、时间的王国。对于吴华这样有着多种训练的艺术家而言，空间、心灵、物质、时间也就是关于建构，运思，描摹，铺陈——她用“绘画”中一以贯之的“生命”将它们统合为一。
SHENG
By Ke Yang Tang
The character"生（Sheng）"embodies an array of meaningsincluding life，birth，growth，rawness，boldness， and so on.
This is a diary of Wu Hua as afugitive from reality as she introducesus to her search for growth， healingand rebirth.In short，this is her searchfor "Sheng".
In the attempt to manifest"Sheng"， one could construct itsstructure，draft its organization，drawits body， or render its impressions. YetWu Hua's paintings linger betweenthe four techniques； they are notconfined by any of the four， yet theyfollow the ever-changing identitiesand emotions of the artist - like theinfinite forms and presentations oforganic lives，they are not boundedby any singularity.
Wu sees space as structure， spiritas the exercise of the mind， material astracing， and time as arrangement -she combines these elements with the"life" of painting. Unlike architectureillustrations， Wu's strokes exceed the limits of color， composition and shape ；they create a space， a projection ofthe artist' sinner being ； they mapout the nature's paths， and bring"formation"through the journey oftim
Henri Focillon once said that thestyle of art changes with time，butit is the life of the artistic form thattranscends space， spirit， material， andtime.Wu sees space as structure， spiritas the exercise of the mind， materialas tracing， and time as arrangement - sheintegrates these elements withthe soul of painting and projects herinner being with the strokes of herworks.