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宋卫东先生，是一个涉猎广泛的艺术家，早年对具象绘画做过深入系统的研究和探索，在大学时就是班上写实绘画的娇娇者。近年来他对当代绘画做了深入的思考，正在打破油画与中国画的疆域，于绘画的意像表现上进行探索和突破，寻找适合自己的表现形式和属于自己的绘画语境。
目前，他已找到这种方式的可能性。
谈到绘画风格的探索时，宋先生认为油画中的色彩原理和造型原理基本来源于西方的经验，但中国传统绘画里的平面化和用笔用线哲学，比西方高明很多，也是现代绘画艺术的构成核心。现代绘画中的形式表现主义，虽然为20世纪初的西方艺术家所原创，但在10世纪前发明的中国水墨画中就已经体现出这一艺术特点，这也是西方现代绘画大师不断吸取中国绘画元素的原因。西方绘画一向重视理性，对绘画形式的研究成果很多，而中国画重意境的表现，浪漫主义色彩比较浓厚。而在西方绘画中，十九世纪中期之后，现代绘画成功地借鉴吸收了东方绘画之长，在他们的代表人物高更、马蒂斯、凡高、毕加索等作品中都有着明显的东方绘画痕迹，绘画面貌为之一新，也由此开创了西方现代绘画的新纪元。
在当下世界大发展大变化的时代，首先要改变的是绘画观念，中国绘画形式要向多元化发展，中西结合多元并进是当前绘画艺术发展的必然趋势。
观宋卫东近期作品，明显看出他在努力借鉴吸收东西方绘画中的经验和成果，并尽力做到兼容并蓄。在他的绘画表现上，努力摆脱传统绘画中对客观物象光影和形体的依赖和束缚，使绘画表达的视觉艺术上升到纯粹的绘画语言状态，更加注重自身内在的主观精神层面的诉求。在他的油画中吸取了中国绘画的大写意方式，追求意境与气韵。他的《江南风景系列》与《花卉植物系列》扑面而来的就是那种浓郁的东方气息，但较之其他人的不同，具有很强的书写性是他绘画的支点，感人在色彩，画趣在用笔。在中国画论中，中国画用笔之法非常丰富，能表达出诸多情感。在他的油画作品中表现出了东方绘画中挥洒自如的笔触，画面中颇为霸气的笔触彰显出生动的气韵，柔而不滑、刚而不僵的线条，构成既矛盾又冲突的和谐美。许多作品中他运用东方的散点透视构图，给画面带来异样的感受和无限的生机。他的作品不拘小节，宏观入手直抒心意，画面昭示出作者对当代油画的独特认知与高雅的精神指向。用画家本人的话来讲那就是“中西兼容各取所长，兼容并蓄不拘一格”。
A Review of Song Weidong’s Painting Works
Song Weidong is an artist involved in many artistic fields. In the early years, he did systematic research and exploration into concrete painting. When he was a student in college, he was a forerunner among his classmates in terms of concrete painting. In recent years, he has engaged in deep thinking about contemporary painting. By means of breaking down the boundary between oil painting and traditional Chinese painting, he has endeavored to seek a painting style with its own characteristics.
Recently, he has found the possibility of establishing his own style.
Looking at recent works by Song Weidong, one can obviously find that he has made an effort to drawn the essence of both eastern and western painting. In terms of painterly expression, he tries to get rid of the reliance on images and shapes of objects in traditional painting, and pays more attention to expressing his own spiritual ideas His oil paintings, among others, draws references from the Chinese painting style in order to pursue the spiritual realm and charm. His Southern China Landscape Series and Flower and Plant Series reflect the strong eastern art style. Eastern perspective techniques are applied to many of his works, just as he asserted that the essence of both east and west should be utilized in the art of painting.
目前，他已找到这种方式的可能性。
谈到绘画风格的探索时，宋先生认为油画中的色彩原理和造型原理基本来源于西方的经验，但中国传统绘画里的平面化和用笔用线哲学，比西方高明很多，也是现代绘画艺术的构成核心。现代绘画中的形式表现主义，虽然为20世纪初的西方艺术家所原创，但在10世纪前发明的中国水墨画中就已经体现出这一艺术特点，这也是西方现代绘画大师不断吸取中国绘画元素的原因。西方绘画一向重视理性，对绘画形式的研究成果很多，而中国画重意境的表现，浪漫主义色彩比较浓厚。而在西方绘画中，十九世纪中期之后，现代绘画成功地借鉴吸收了东方绘画之长，在他们的代表人物高更、马蒂斯、凡高、毕加索等作品中都有着明显的东方绘画痕迹，绘画面貌为之一新，也由此开创了西方现代绘画的新纪元。
在当下世界大发展大变化的时代，首先要改变的是绘画观念，中国绘画形式要向多元化发展，中西结合多元并进是当前绘画艺术发展的必然趋势。
观宋卫东近期作品，明显看出他在努力借鉴吸收东西方绘画中的经验和成果，并尽力做到兼容并蓄。在他的绘画表现上，努力摆脱传统绘画中对客观物象光影和形体的依赖和束缚，使绘画表达的视觉艺术上升到纯粹的绘画语言状态，更加注重自身内在的主观精神层面的诉求。在他的油画中吸取了中国绘画的大写意方式，追求意境与气韵。他的《江南风景系列》与《花卉植物系列》扑面而来的就是那种浓郁的东方气息，但较之其他人的不同，具有很强的书写性是他绘画的支点，感人在色彩，画趣在用笔。在中国画论中，中国画用笔之法非常丰富，能表达出诸多情感。在他的油画作品中表现出了东方绘画中挥洒自如的笔触，画面中颇为霸气的笔触彰显出生动的气韵，柔而不滑、刚而不僵的线条，构成既矛盾又冲突的和谐美。许多作品中他运用东方的散点透视构图，给画面带来异样的感受和无限的生机。他的作品不拘小节，宏观入手直抒心意，画面昭示出作者对当代油画的独特认知与高雅的精神指向。用画家本人的话来讲那就是“中西兼容各取所长，兼容并蓄不拘一格”。
A Review of Song Weidong’s Painting Works
Song Weidong is an artist involved in many artistic fields. In the early years, he did systematic research and exploration into concrete painting. When he was a student in college, he was a forerunner among his classmates in terms of concrete painting. In recent years, he has engaged in deep thinking about contemporary painting. By means of breaking down the boundary between oil painting and traditional Chinese painting, he has endeavored to seek a painting style with its own characteristics.
Recently, he has found the possibility of establishing his own style.
Looking at recent works by Song Weidong, one can obviously find that he has made an effort to drawn the essence of both eastern and western painting. In terms of painterly expression, he tries to get rid of the reliance on images and shapes of objects in traditional painting, and pays more attention to expressing his own spiritual ideas His oil paintings, among others, draws references from the Chinese painting style in order to pursue the spiritual realm and charm. His Southern China Landscape Series and Flower and Plant Series reflect the strong eastern art style. Eastern perspective techniques are applied to many of his works, just as he asserted that the essence of both east and west should be utilized in the art of painting.