我们生活在一个充斥着现成性、消费性图像的世界中,现代主义抛弃了视觉艺术的叙事性和情节性功能,我们几乎不再理会那些潜藏在图像背后的历史隐喻,对图像的直觉经验代替了对图像的视觉阅读,而崔进的作品似乎在努力恢复我们的这样一种视觉功能,即恢复我们“阅读”绘画的能力。 表面上看起来,崔进的作品是超现实主义、象征主义、表现主义(在他的油画作品中)和夏加尔式幻想、抒情、纯朴风格的综合。但如果更深入地阅读,我们就会发现,他的兴趣其实始终都在于为画面营造一种东方式的泛神论气氛,他的作品基调是乐观主义和浪漫主义的,它们总漾溢着一种民俗性的欢愉,但为了避免使这种欢愉流于纯感官的刺激,他又总是小心地使其控制在一种诗性的和历史化的背景之中,在几幅为他的艺术 We live in a world full of ready-made, consumerism images. Modernism abandons the narrative and episodic functions of visual art. We seldom deal with the historical metaphors hidden behind the images and replace them with the intuitive experience of images Visual reading of images, Cui Jin’s work seems to be trying to restore one of our visual functions, the ability to restore our “reading” painting. On the face of it, Cui’s work appears to be a combination of surrealism, symbolism, expressionism (in his paintings) and Chagallian fantasy, lyrical and simple style. However, if we read more deeply, we will find that his interest has always been to create an oriental pantheistic atmosphere for the picture. His works are optimistic and romantic in tone, and they always overflow with a folklore Sexual pleasure, but in order to avoid passing this joy purely sensory stimulation, he is always careful to control it in a poetic and historical context, in a few pieces for his art