张广慧主要的创作活动均与“两条线路”保持距离,既在体制主导的展览中时隐时现,又警惕“当代艺术运动”会造成对自己艺术初衷的疏离。因此,他选择了在保持学院身份版画家的基础上,主动对自己的艺术创作活动进行规划。近几年来,张广慧的木刻创作由人物转向风景。出现这样的变化,既源于一次与美国版画家的合作中,对于生存状态与个人命运的探讨,引发了他从自然季节变化所昭示的时光往复,来替换以人物形象对生命期许的暗示;又在试图改变常规刻法,注重感性的“触摸式”操作中,主观上需要一种更加不受拘束 Zhang Guanghui’s major creative activities are all kept distance from the “two lines”. They are not only hidden in the system-led exhibitions, but also vigilant against the “movement of contemporary art” that will alienate their original artistic intention. Therefore, he chose to take the initiative to plan his own artistic creation activities while maintaining the status of the Institute as a printmaker. In recent years, Zhang Guanghui’s woodcut creation turned from landscape to scenery. Such a change arises not only from a discussion with living states and personal destiny in a collaboration with the American print artists, but also from his recounting of the seasonal changes of nature to replace the implication of the image of the life on life. Again in trying to change the conventional carving, pay attention to emotional “touch ” operation, the subjective need for a more unconstrained