和少数追逐观念性绘画的同龄人不同的是,于大明对绘画的认识故意停留在绘画只是个人心理的表征工具上。他并不考虑在这个时代绘画要与其它艺术媒介展开某种心智上的竞争,从而擢升绘画的地位和价值,他也对各种绘画的历史、绘画的本体和绘画的体制等等问题缺乏表面的兴趣。但,这并不是说,于大明满足于目前自己的绘画方式,满足于制造可以不断复制的个人符号。事实上,对 Unlike a handful of his peers who pursue conceptual painting, Yu Da-ming’s understanding of painting deliberately stays on the instrument of representation that painting is merely a personal psychology. He did not consider that in this era of painting, he should engage in some kind of mental competition with other art media in order to elevate the status and value of painting. He also lacks the surface of the history of various paintings, the ontology of painting, the system of painting, and so on interest of. However, this is not to say that Yu Dali is content with his current painting style and is content with making personal symbols that can be continuously reproduced. In fact, yes