彭麒，男，生于1972年。1987年，开始学习油画。1996年，毕业于湖北美术学院，美术学士。2002年，毕业于湖北美术学院，油画硕士。2003年至今，任教于北京印刷学院，教师。获奖：2012台北新艺术博览会 国际艺术家评选赛 大会主席特别奖。媒体作品发表及访谈：日本《Art City》、美国《世界华人周刊》、《Hi艺术》、《世界艺术》、《美术前沿》、《北京商报》、《东方早报》等。 

2012年 台北 台北新艺术博览会

2008年 北京 798艺术区 玛斯德比艺术中心

2007年 北京 798艺术区 红鼎 画廊 

2013年 北京 意大利法拉利百年之夜艺术展

2013年 北京 中华世纪坛 首届屈原《九歌.山鬼》主题艺术展

2013年 北京 德易家生活艺术空间

2012年 北京 2012 798艺术节

2012年 台北、高雄 宝胜画廊

2010年 美国 巴塞尔-迈阿密艺术博览会

2010年 韩国 Arma博物馆 Pop Art 当代艺术展

2010年 纽约 “中国演义”当代艺术展

2010年 北京 798艺术区 第一届798多媒体艺术节

2010年 北京 宋庄艺术区 第六届宋庄艺术节

2010年 内蒙古 燕柏格 第二届燕柏格国际艺术节

2010年 北京 北京航空航天大学 美术馆

2009年 北京 中国国际贸易中心 GREEN 当代艺术展

2009年 内蒙古 燕柏格 第一届燕柏格国际艺术节

2009年 北京 草场地艺术区 CCD300画廊

2009年 北京 环铁艺术区 环铁时代美术馆

2009年 重庆 首届重庆国际艺术节

2008年 美国 巴塞尔-迈阿密艺术博览会

2008年 纽约 亚洲艺术节

2008年 北京 亚洲当代艺术博物馆

2008年 内蒙古 燕柏格 第一届木兰围场国际壁画艺术节

2008年 北京 798艺术区 红星 画廊

2008年 北京 环铁东坝艺术区 后街艺术工厂

2007年 北京 清华大学 艺术中国 全国画展

2007年 北京 798艺术区 红星 画廊

2007年　 北京 观音堂艺术区 嘉维 画廊

2007年 北京 爱家国际收藏交易中心

2006年 北京 798艺术区 3818库 画廊

2006年 北京 798艺术区 中方角 画廊

2006年 北京 观音堂艺术区 观音堂美术馆

2006年 北京 通州艺术区 北京时代美术馆

2005年 北京 798艺术区 3818库 画廊

2005年 北京 798艺术区 仁《club》画廊

2013 Italy Ferrari One Hundred Nights Art Show, Beijing

2013 The first Qu Yuan "Nine Songs . Fairy" theme art exhibition，China century altar, Beijing

2013 De Yi home living art space, Beijing

2012 2012 798 Art Festival, Beijing

2012 X-Power Gallery, Taiwan

2010 Art Basel - Miami Beach, America

2010 Pop Art Contemporary Art Exhibition, Arma Museum , South Korea

2010 Romance Of China Contemporary Art Exhibition, New York

2010 The First 798 Multimedia Art Festival , Beijing

2010 The Sixth Song Zhuang Art Festival , Beijing

2010 Yan Berg International Arts Festival （2nd）,Inner Mongolia Yan Gerber

2010 Beijing University of Aeronautics and Astronautics Art Gallery, Beijing

2009 GREEN art fair, China world trade center exhibition hall， Beijing

2009 2009The first session of the International Arts Festival Yan Berg, nner Mongolia Yan Gerber

2009 CCD300 Art Gallery, Cao Chang Di Art Area, Beijing

2009 Circled iron Times Art Gallery, Circled iron Art Area, Beijing

2009 Chong Qing International Art Festival, Chong Qing

2008 Art Basel - Miami Beach, America

2008 New York Asia Art Festival, New York

2008 Magnolia paddock for the first mural of the International Arts Festival,Inner Mongolia Yan Gerber

2008 Asia contemporary art museum, Beijing

2008 Red Star Art Gallery,798 International Art Area, Beijing

2008 Back street art factory , Circled iron Dong Ba Art Area, Beijing

2008 Red Star Art Gallery,798 International Art Area, Beijing

2007 Tsinghua University, 2007Art China National Exhibition， Beijing

2007 Red Star Art Gallery,798 International ArtArea, Beijing

2007 Ja Wei Art Gallery, Guan Yin Tang Art Area, Beijing

2007 Ai Jia International Art Centre, Beijing

2006 3818 Storehouse, 798 International Art Area, Beijing

2006 Guan Yin Tang Art Gallery, Guan Yin Tang Art Area, Beijing

2006 Beijing Times Art Gallery, Tongzhou Art Area, Beijing

2006 Zhong Fang Jiao Art Gallery, 798 International Art Area, Beijing

2005 3818 Storehouse, 798 International Art Area, Beijing

2005 Ren Club Gallery, 798 International Art Area, Beijing

2001 Hubei Art Academy Gallery, Wuhan 

九歌.山鬼 90cm X 3600cm 2013年 布面油画 

动物系列 

人物系列 

红色系动物 

感觉与想象的艺术梦影 ——彭麒油画

文/陈池瑜（ 清华大学美术学院教授 博士生导师）

20世纪中国美术的一个最突出的现象，是油画这个舶来艺术品种成为最重要的画种之一，20世纪初的近30年中，中国新建了近20所美专或艺专，开始培养油画学生，油画风格经历了写实、象征、古典等阶段。在30年代初，在上海曾出现现代主义创作思潮，80年代中期，在中国再一次掀起现代主义绘画思潮。90年代以来，青年画家们开始追求个性化的表现方法，并开始吸收影像、电脑设计等手法，进行新的创作。90年代以来成长起来的年轻油画家，感觉更加灵敏，思维方式更具有当代性。彭麒就是90年代成长起来的优秀青年画家之一。

彭麒在美术学院本科和研究生阶段，在素描训练和造型能力方面打下了坚实的基础，但他并不满足于写实画风，而是在想象构形方面着力，他创作的头像系列，以风格化的手法研究各种人物面部表现的种种神态，仿佛是一部社会众生形态库，这些作品预示着他要走一条属于自己的个性化艺术道路。

彭麒是一位具有灵性和才华的画家。他积极地表现着周围的世界，但他并不是去复制这个世界的具体物象，而是用心灵去感觉，用思维去创造新的物象，也就是说，彭麒羞于将客观世界中的人、动物及物象直接描绘。而是将其转换成想象中的梦幻影像。

彭麒对小动物尤为关注，他说，一直以来，那些仿佛会说话的精灵总在脑海中跳舞。他似乎在用心灵和这些小精灵对话，他以捕捉到他们为创作的乐趣。他描绘的这些小精灵有猫、狗、猴、猪、蝴蝶等，生动而富有情趣。他用单色为背景，使动物的形象特征更为强烈。这些小精灵有些憨厚、有些机智、有的被夸张变形、有的朦胧，每一张作品，都是一种生命的形式。他用两年时间，画了一百张小精灵，画面闪烁的是一种生命力和童趣。这些小精灵成为彭麒创作的灵感来源，对生命和童稚的探询正是他创作的原始动力。

彭麒在湖北求学时，受到楚文化浪漫主义艺术的熏陶，崇拜凤鸟的楚先民创造了绚烂的漆艺术，漆艺的造型和色彩开启了彭麒的艺术想象力。彭麒以凤凰作为对象创作了一组想象丰富的作品，凤鸟被意向化，画面流光溢彩，创造了一个旋转流离的想象世界，用笔的书写性即使画面流动自如，又带有强烈的东方艺术精神特征。凤凰组画，是吸收中国浪漫主义创作方法加以新的有益试验的积极成果。

彭麒还对20世纪西方抽象主义进行研究，尝试运用抽象手法进行新的创造。他的抽象画有的具有表现性特征，“随手万变，任心所成”是他神往的创作状态。他将中国书法运笔的自由灵动和线条流转融入画中，使其抽象画带有书写的特点。此外他将设计的某些因素引入抽象画中，画面和色彩富有装饰与构成的形式美感。这些作品无疑是当代抽象画新的收获。

彭麒的创作手法是多样的，这反映了当代青年画家追求创作多样体验的愿望。他的大幅精灵题材画，运用蠕动转曲的笔触和多样和谐的色彩，造成一种视幻影像效果，观者可从画面恍惚的色彩中感知猫、麒麟等形象意趣，在他的作品中视幻与隐喻统一于一体。《闪耀的身体》系列，人体被梦幻化、虚拟化，这些人体被舞动的彩带所缠绕、所隐蔽。作者受《山海经》等中国古代神话所启示，大胆创造出人身猫首的怪异形象。这组作品具有强烈的抽象表现特点，也是作者对人的身体本质的艺术哲学思考。人身的本体与遮蔽交织在一起不可分割，人与动物相异又相连。这组画是新世纪青年画家对人体本身思考与表现的富有意义的佳构。

彭麒在创作技法上，将传统的油画绘制方法同丙烯、电脑设计思维方式相结合，将油画手绘质感和肌理与网络和数字艺术相结合，力求创造出富有时代特征的新的绘画样式。在色彩表现上，追求虚拟、光电构成的色彩效果，以区别于以往绘画中对自然状态下色彩的摹写。彭麒用这些方法为我们创造了富有个性特征和风格样式的绘画作品。

彭麒还很年轻，他在油画创作上极富潜力和前程！

The Illusive Shadow of the Art of Feeling and Imagination: Oil Paintings by Peng Qi

By Chen Chiyu

Professor , School of Fine Arts, Tsinghua University

A most prominent phenomenon for the 20th century Chinese fine arts is that the imported oil painting became one of the dominant forms in painting arts. During the first thirty years of the century, nearly twenty art schools were established and began to produce students majoring in oil painting. The painting style experienced different phases of realism, symbolism and classicism. In the middle of 1980s a trend of modernist thoughts surged. From the 1990s on the young generation of artists started to absorb methods from the computer imagery design for innovation, whose senses are more acute and ways of thinking more contemporary. Mr. Peng Qi is one of these brilliant new artists after the 1990s.

During Peng Qiu2019s undergraduate and postgraduate studies, a solid foundation was laid by himself regarding the sketch and profiling skills. However, he was not satisfied. His Portrait Series, like a storehouse for human morphs from all walks of life, studies peopleu2019s facial looks in stylized methods. These works of his forecasted his own personalized road of an artist.

Peng Qi is an intelligent and talented artist. He positively portrays the world around him not by mere duplicating but through feelings from the soul and through thinking. Putting it another way, he is shy at depicting people, animal and things of the material world directly, but would rather transform them into images in dreams and illusions.

He pays special attention to small animals. As he put it, these elves are as if always talking and dancing oneu2019s mind. He seems to be talking to these little beings through his soul and experiencing great joy in capturing them in his compositions. The little animals portrayed by him include cats, dogs, monkeys, pigs and butterflies, lively and interesting. He uses one colour for the background in order to make the images of the animals more intense. Some of these little elves are simple and honest, some are intelligent, some exaggerated and transformed, some obscure. Each piece of these works is a form of life. He spent two years on 100 pieces of them, each one glaring with vitality and childlike delight. These little elves became a major source of innovation of Pengu2019s composition. The inquisition about life and innocence is the primeval force of his creation.

was inspired by the lacquer painting profile and colour of the ancient Chu people who worshipped Phoenix and created extraordinary lacquer painting art. He later composed a series of works in the theme of Pheonix. The Pheonix bird is idealized by glaring colours in a vortical drifting world. The paintings are mobilized by the narrating brush, full of spiritual characteristics of oriental art. The Phoenix series is a positive achievement by applying methods in the Chinese Romanticism into new practice.

Beside, Peng also did research on the western abstractionism and is trying to make use of it in new compositions. To be able to draw multifariously by following his heart is the mood he dreams of for his composition. He dissolves the freedom and flexibility of lines in traditional Chinese calligraphy into his paintings, making them carry the character of calligraphy writing. Additionally, he introduced some elements in designing into the abstract paintings, giving the general appearance of the painting a decorative esthetics. Without any doubt these works of art must be among the new achievements of modern abstractionism.

His means of artistic creation is various, which reflects the wish possessed by contemporary young artists to have different experiences during artistic creation. His large productions of the elves theme create an effect of hallucination, through wriggling touch of brush and harmonious colours, in which the viewers vaguely perceive the images of cat, Qilin(a chimerical and auspicious animal in Chinese culture) and so on. In his works, visual hallucination is united with metaphor. In the Glaring Bodies series, human bodies are illusionary and virtualized by being intertwined and concealed by colourful stripes. Inspired by the ancient Chinese fairy tales such as Shan Hai Ching, the author boldly creates the weird image of manu2019s body with catu2019s head. The abstract expression of this series reflects his thought on the essence of human body in terms of artistic philosophy. The human bodies are interwoven with coverings, neither of which is separable from the other. Man and animal are different and yet connected. The series forms a meaningful fine construction out of thoughts on human body and its expression by a young artist of the new millennium.

As for techniques, Peng combines traditional oil painting methods with ideas from acrylic, printing media and computer aided design arts, blending texture of oil painting with digital art, in order to produce a new type of painting with characters of a new era. In terms of colour expression, virtual and photoelectric effects are pursued so as to differ from copying colours in their natural state in the past of painting. With these methods, Peng creates a personal and stylized art of painting for us.

He is young, and full of potentials on his way of oil painting composition.

含蓄与张扬——关于彭麒的油画“闪耀的身体”系列

文/熊新君 （中央美术学院教师 艺术策展人）

认识彭麒，其实已经有好几年。但是，对彭麒作品的关注，却是始于去岁冬末,在我策划的“出走——从学院到草莽”的展览中，他是受邀参展画家之一。

生于70年代初的彭麒。成长于一个社会改革快速变幻的内陆城市——武汉。对他来说，成长的印记是中国社会改革中的种种变化：日益繁荣的经济市场、日渐丰富的社会文化生活、日益拆改的街井巷道、日渐增多的城市各色人等。一个总体意识上的政治社会到自由消费社会的渐进过程，成为他成长过程的重要背景。彭麒的受教育阶段是在有着深厚油画脉承的湖北美院完成的。湖北美院油画教学，远有唐一禾先生的西洋画教学体系；近有石冲等人的写实绘画基础，以及郭正善、胡朝阳等人的自由绘画语言。这些成为湖北美院油画教学的重要脉承，也成为彭麒油画学习的重要土壤。

彭麒现在的身份是北京印刷学院的一名美术教师，工作和生活在一个艺术文化蓬勃发展的都市——首都北京，同时又是一个相对独立的高校校园。

从上个世纪90年代以来当代艺术的迅猛发展，不但使中国的当代艺术走出国门，而且使中国的当代艺术家和艺术产业具备了国际化的经验和历程，使得一大批的当代艺术家具有更加广泛的诉求方式和多样的表达语境。这种变化导致的一个重要的结果之一，便是学院派艺术的边缘化趋势和年轻的“学院艺术家”（青年教师）的泛市场化现象。这种泛市场化不仅仅只是停留在形式上，而是严重影响到“学院艺术家”们的绘画语言以及表达方式上。使其自觉地游离于学院艺术的核心范畴。这个过程正是中国艺术受到市场影响的一个表象特征。也是“70后”学院艺术家的共同特征。彭麒正是在这种形式下自觉的进入到“体制”之中，成为无数个体中的一个。

彭麒的“闪耀的身体”系列，是在近几年创作的一个主题性很强系列作品。

从作品中，我们不难看出，艺术家自身的成长经历、学业背景以及视觉经验在作品中留下的印迹。这种印迹正是成长经历中的不稳定性、学习过程的专业性以及成年后经验性，所形成的对于绘画主题的适时性及绘画语言形式的多重性。

从绘画语言和风格来看，表现出艺术家对于学院派艺术的无限留念，以及对于自我寓言式的精神体验的强烈追求。一方面，流露出相对保守的含蓄式学院风格。比喻对于人体的描绘方式，都是采用常见的学习经验式的探索，一定程度上延续了学院派风格的绘画模式——含蓄而规正。另一方面，艺术家通过对自身情感的体验，而延伸出来的对于传统绘画语言的突破：对于画面空间的解构性非真实处理，让传统的人物主题出现在梦幻般的外围空间。从形式上是吸取中国书法的书写的手感和笔势及中国传统绘画的写意技巧，充分地拓展了油画绘画语言的表现性。借用艺术家自己话来说：是试图去表达流动的时光，绚烂的色彩，翻转穿插的空间，随意挥洒的书法笔势，渲润渗化的东方气韵……

表现在画面上，则是一股强烈的浪漫的情感张扬和行云流水般的情感宣泄。这是对古典绘画空间处理的一次当代性的诠释。从而形成了一种内在语言的多重性表达方式。也或是一种内在语言的矛盾统一。这种矛盾统一，便是对于东方文化或学院派绘画的一种含蓄式表达方式的理解，以及艺术家对自身经验的情感表达的张扬。以此构成了这个系列作品的主题性表达——含蓄与张扬。

这种含蓄与张扬，同时也是和艺术家的自身性格是密不可分的。在生活中的彭麒，是一个自信、幽默却又谦虚的人。在每一次的大小集会中，你会发现，他一直是那个说话最多、幽默最多的主角。但是一谈起艺术话题，他却是一个谦虚而含蓄的大男孩。他这种自信与含蓄的多重性格也必然会在他的作品中隐现，表现出来就是一种内在的矛盾与冲突。

从作品的内容和题材来看，表现出艺术家对于社会现实文化的敏感和忧虑，以及对于新鲜事物强烈的诉求望。

随着消费社会经济的不断发展，特别是数字网络技术的不断普及化。众所周知，女性身体成为一个重要的市场时尚话题，甚至是一个巨大的产业。随之而来的便是，一个女性身体被过度的展示和炫耀的社会文化现象。从而带来严重的社会问题。随意翻开杂志或网页，随处可见充满着诱惑的女性身体的暴露和展示。艺术家敏感的注意到这一点，以绘画的形式展现出来，适时地表现出自己对于社会问题的忧虑，体现出艺术家深度的社会责任感。从另一个角度来看，也说明艺术家敏感地抓住了在这个时代女性身体张扬的社会状态。从而成就了自己的创作主题 。进一步诠释了他绘画主题的张扬性特征。另外，从作品表现的主体内容来看，不难看出艺术家对于新鲜事物的敏感和兴趣。如，女性身体的造型、动态，无不显露当代时尚文化元素。甚至吸取当今最为流行的动漫造型语言，以此作为自身绘画语言对于传统人体绘画的一种突破和再创。也表现出数字网络对人类生存环境、思维方式、艺术创作的影响。也进一步验证艺术家作品的时代性和当代性特征。这是彭麒作品的重要时代标签。

通过和彭麒的谈话得知，“闪耀的身体”系列没有完结，而是正在向着一个更加准确、纯粹的语言形式在探讨。尽可能的拓展油画的绘画可能性，使油画这门传统的绘画形式，在新时代具有更加丰富的表现语言和空间。这也是彭麒今后绘画研究的一个重要课题。从他现在的作品潜质，我们有理由相信：彭麒的艺术，在今后的社会条件下，能够不但继承传统的文脉和渊源，并吸收新的社会文化信息而延伸和蜕变，达到自身绘画风格的延续和丰富，出现更加完美的作品。

Reservedness and Outstandingness—On the “Flashing Body” series by Peng Qi

By Xiong Xin jun (Teacher , Central Arts Academy, Exhibition Manager)

Though having known Peng Qi for several years, I only started to pay attention to his works when he was invited to the exhibition “Exile, from Academy to Wilderness” managed by myself last winter.

Born in the early 1970s, Peng grew up in a rapidly changing society of an inland city—Wuhan. To him, his growing footprints may cover very bit of social reforms in China: ever increasingly prosperous market economy, ever richer social and cultural life, parts of city that has been pulled down and built up, increasing sundry metropolitans, etc. From an ideologically political society to a free consumer society, it is the background of his growth. Peng finished his education at Hubei Arts Academy, where there has been a deep tradition in oil painting. Education in oil painting there witnessed the western teaching system brought by Tang Yihe in the early ages, realistic painting basics by Shi Chong in recent time, and free painting language of Guo Zhengshan and Hu Chaoyang. These are the lineage of teaching in Hubei Arts Academy, and soil for Peng to study oil painting.

Peng Qi is presently an art teacher at Beijing Institute of Graphic Communications, living and working in a prospering capital city, Beijing, and a relatively independent college campus.

The swift development of contemporary art since the 1990s not only let Chinese art go out to the world, but also let Chinese artists and the art industry acquire international experiences and let a large group of artists gain access to a wider range of expression and multiple contexts. The change induced a significant consequence, that is, the tendency of marginalization of academy arts and the phenomenon of pan marketilization of young “academy artists” (young teachers). This pan marketilization not only maintains in superficial forms, but also seriously affects the painting language and expression of the “academy artists”. The process is a visible character of the Chinese art being affected by market and of the post 1970s academy artists. It is in such a situation that Peng walks into the “system” voluntarily, and becomes one of the numerous individuals.

The “Flashing Body” is a series of intense themes in Pengu2019s composition in the recent years.

It is easily seen that the artistu2019s growing experience, academic background and visual experience left marks in the works. These marks are the instability in the artistu2019s growth, professionalism of the study progress, adult experience, timeliness of the painting themes and multiple painting language forms.

In the aspect of painting language and style, the works show the artistu2019s nostalgia toward the academy art and strong pursuit for a self allegoric spiritual experience. On the one hand, they reveal a relatively conservative and reserved academy style. The way of depiction of body by allegory adopts the common study-experience styled exploration, extending to some extent the painting mode of academy style—reserved and formal. On the other hand, through his own emotional experience, the artist breaks through the traditional painting language: the deconstructed unreal handling of space, the appearance of traditional figure theme in a dreamy surrounding space. In form he absorbs the feel of Chinese calligraphy and freehand skill in the traditional Chinese painting, expanding the expression in oil painting language. In his own words, he is trying to convey the flowing time, the luscious colours, contorting and overlapping space, casual calligraphy momentum, oriental air of colour washing and seeping…

In the appearance of the paintings, there is a strong display of romantic sentiments and unhindered unbosoming of emotions. This is once again a contemporary interpretation of spatial arrangement of the classical painting, forming a multiple way of expression of inner language, and an inherent linguistic unified contradictions. The unified contradictions are an understanding of the way of expression by the oriental culture or the academy school painting, and a display of artistu2019s experience and emotion. Thus is constructed the thematic expression of the series—reservedness and outstandingness .

Such reservedness and outstandingness are in the meanwhile inseparable from the artistu2019s personality. In life, Peng is a confident, humorous and modest person. In every meeting, big or small, he is the centre of speech and humour. When art is discussed, he becomes a modest and reserved big boy. His dual character of confidence and reservedness makes appearance in his works, showing an inherent contradiction and conflict.

Judging from the content and subject matters, the artistu2019s sensitiveness and concern for the societyu2019s realistic arts are displayed, as well as his intense interest toward new things.

As is known to us, with the development of economy and consumer society, especially the popularization of digital network technology, the female body has become a fashionable topic of market importance, even a huge industry. Consequently, the social and cultural phenomenon of undue exhibition of female body brings about serious problems. Opening magazines or web pages randomly, we see luring exposure and exhibition of female body. The artist noticed this point alertly, and poses timely his concern for this social problem in the form of painting. From another angle, it shows that the artist seizes the present social condition of emphasizing female body, thus constructing his theme of composition. From the major content of the works, the artistu2019s sensitiveness and interest for new things are easily seen. For example, in the profiling and motion of the female body, fashionable elements are employed everywhere. He even absorbed the most up to date cartoon language. In accepting these as his own painting language, he makes breakthrough in the traditional human body painting, and presents the influence of digital network over manu2019s existing environment, over way of thinking and over art composition, and furthermore, proves his worku2019s timeliness and contemporary quality. These are important time tags of Pengu2019s works.

In talks with him, I came to know that the “Flashing Body” series is not finished completely. It will be explored in a more accurate and purer linguistic form, searching possibilities in oil painting and giving this traditional form of painting richer formalistic language and space. This will be another important topic in Pengu2019s later painting research. Out of the potential quality of his paintings, we may well believe: under todayu2019s social condition Peng Qiu2019s art will not only inherit tradition but will also absorb new social and cultural information. His painting style will be continued and enriched. He will produce more perfect pieces of works of art.

翩跹悬想——《闪耀的身体》作者自述

文/彭 麒

技术飞速发展的今天,网络覆盖了我们的生活并影响了我们的思维，时空关系被彻底改变了。在目不暇接的资讯扑面而来时,每个个体呈现出不同以往的激越、欣喜、错愕或是被诱惑的沉沦。由于数字网络的存在,有些状况甚至触动到某些政治、经济、文化既有的格局。甚嚣尘上的“各种门”事件在中国越发把偶像还原成活生生的肉身凡人。人们不再轻易相信某种恒定的价值与法则，越来越多的人正发挥着自己的想象诠释着未来和自己的真理，释放着生命的张力。来源于数字与网络的﹑虚拟的﹑真伪混杂的事件，成为当下人们生活方式的客观反映。从某种意义上来说，虚拟生活就是客观存在的现实生活。如果承认虚拟生活也是生活的话，充满想象与虚拟的当代艺术就是这个时代的“现实主义”艺术。

传统文化中令人乏味的寂寞与忍耐越来越受到大众文化喧嚣与浮华的冲击与反叛。于是在思想与身体解放之后，出于对欲望泛滥带来的浮躁与“腻”味的反思，人们不禁又怀念起某种节制与平和来。就好比大家吃多了生猛海鲜和大鱼大肉后，又钟情于那些精心制作的私家小菜来。我所创作的《闪耀的身体》系列正是基于此种出发点——直面欲望，重拾起传统油画技术去捕捉各种闪耀的虚拟幻象。也可以说是基于某种欲望的想象，对人性整合的描绘。

我们终归会走出自我的藩篱，奔向一个离奇的想象世界。每个人都有诗人般的古典心肠与浪漫情怀，每个人都涌动着幼稚鲜活的生命力。古往今来，人们走过地老天荒，饱经各种悲情的砺炼后，对美丽的憧憬一直没有消失。我们看到的“美丽”可能都是一种假象，只是海市蜃楼般的镜像，但我们宁愿相信它是真的，因为我们喜欢那些不知何时窜出来的可爱的思想精灵，或者仅仅是看见漂亮异性时大脑分泌内啡肽所带来的愉悦的体验。管它是“人工美女”还是漫画主角，就像科学家给婴儿看美女图片他们会停止哭闹仔细观瞧一样。

美与丑的定义会随时代的不同而演进和丰富，而空前的想象力，却是推动人类进步的原动力。这批作品试图留给看画的人一些想象空间：画面上3D游戏中常见的健康、性感、壮硕的女人体或许是个人心灵深处的第四性征心理原型的体现；拟或是女英雄情结在大众集体无意识中的投射。而充满流行设计元素的数字特效与东方风味的装饰纹样让人感到似曾相识，这些线条与纹样来自于对于东方文化整体感觉，它不仅是中国的，还具有波斯﹑印度﹑日本等相类似的文化特点。这些作品似乎一直在叙说一组组矛盾：

阴柔VS阳刚；

抽象VS具象；

虚幻VS真实；

精神VS肉体；

存在VS未知；

坦露VS遮蔽；

暧昧VS直白；

现代VS传统；

数字VS手绘；

极少VS极多。

这些二元关系可能是中国传统的阴阳文化思维方式在油画语言中的自然流露，也可能是喜欢用筷子的中国人在思维层面的形象体现。当然这些思辩被云蒸霞蔚，宝气氤氲的表象所淹没。因为我们每个人都会呈现出多面性，既有形而下的，也有形而上的关注；每个艺术家当他拿起画笔创作时就会有意识无意识的像个“观念艺术家”一样去表达。这种“观念”可能有时偏向“逻辑”，有时可能偏向“太极”，还有可能偏向说不清楚的“无极”，或者仅仅只是本能的渲泄。

闪耀的眩光环绕在人体四周，是我们所处时代的无穷可能性的象征。它是变幻的，运动的，无常的，神秘的，甚至是充满诱惑的。那些由细碎的线状和片状组成的，充满气体或是液体的“随手万变，任心所成”的物质，是数字时代精神律动的产物。它把与之交相挥映并充满欲望的，存在于三维空间的肉体有力地提升到另一个有趣而虚幻的时空中来。在这里除了辽阔的想象外，或许还有某种少年般的对神秘事物的敬畏与好奇。希望这些物质可以形成些戏谑的会说话的生物，去接通我们现实而闭塞的神经，唤醒我们沉睡的原型和灵魂，走入我们被简单粗暴的理性控制下的心灵，以及被欲望贪婪裹挟的身体。不为别的，只为那充满离奇剧情般的内省与沉醉，拟或是片刻的逍遥与神游。也许这些都仅仅只是一个绚丽好玩的白日梦或翩跹悬想。这都没有关系，因为我们需要它。

壮丽或绮婉﹑迭荡或空灵﹑顿悟或冥想......纵横穿梭的虚拟想象世界是我们生活中不可获缺的一部分，它存在于我们呼吸的自由空气中。不管有意或者无意，我们每个人都不会轻易将它抛弃，并愿意随时倾听它的召唤,来往于时空的辗转，徜徉于心灵的漂流，去触碰那每个鲜活可爱的希望。

（ 2008年3月 于 北京 水晶城）

Dancing With Fantasy: authorial account of the Flashing Bodies

by/Peng Qi

With the development of technology and ramification of the internet affecting our life and thought, spatial temporal relationship has been changed thoroughly. In front of the dazzling information overload, every individual becomes excited, overjoyed, astonished or lured in unprecedented ways. Because of this digital network, the existing framework of politics, economy and culture are not spared either. The notorious and easing the tension of life. The digital, interneted, virtual and adulterated events have become a reflection and virtuality is the realistic art of this age.

The unbearable tedium and tolerance in the traditional culture is increasingly facing shock and rebellion from the popular culture. Having freed their mind and body, people cannot help recollecting abnegation and tranquility after reflecting over the impatience caused by the surge of desire. It is comparable to the preference of simple home cooking after feasting too much rich food. The composition of the series of “The Flashing Body” is based upon this point, that is in the face of desire, utilizing techniques of traditional of certain desire and depiction of integration of humanity.

In the end, we are about to free ourselves and embrace the bazaar and fantastic world. Everyone, on the poetic level, has both a classic and romantic inner world. From time immemorial, having experienced all the trials and hardship, mankind has never ceased to envisage the future with good faith. What is seen as beauty may be a false impression, a mirage. We prefer to believe it is true, because we like the cute spirits that come from nowhere, or because we are addicted to the pleasurable sensation caused by the releasing of endorphin in our brain, seeing a pretty one of the opposite sex. It is the same mechanism when scientists show pictures of beautiful women to babies, they stop crying.

The definition of beauty and ugliness evolves and gets enriched in time. Unprecedented imagination has been the prime mover of human progress. This batch of paintings tries to find some room for imagination: the healthy, sexy and robust female bodies commonly seen in 3D games may be a display of the psychological prototype buried deep in the human fourth sex characteristic, or a projection of the heroine complex in the unconscious of the mass. The special digital effect strewn with popular design elements and the decoration of oriental flavour creates a déjà vu. The lines and streaks come from an overall feeling about the oriental culture, not only from the Chinese culture, but from the Persian, Indian and Japanese. These works seem to be narrating group of binary oppositions:

Feminine VS Masculine

Abstract VS Substantial

Unreality VS Reality

Spirituality VS Corporeity

Existence VS the Unknown

Exposure VS Cover

Ambiguity VS Straightforwardness

Modernity VS Tradition

Digital VS Manual

Minority VS Majority

These oppositions may be found in the natural expression of traditional Chinese culture of yin and yang, a representation of the mentality of the chop-stick using Chinese. All the refutations are enshrouded by the cloudy phenomenon. We are all endowed with multiplicity, material aspects as well as metaphysical. Every artist delineates as u2018a conceptual artistu2019 consciously or unconsciously when he or she takes up the brush. Such u2018conceptualityu2019 sometimes tends to lend itself to u2018logicu2019, sometimes to u2018taichiu2019, to untenable u2018boundlessnessu2019, or simply to the outlet of basic instinct.

Flashing light encircling the human body may be deemed a symbol of infinite probability of our time. It is ever changing, mobile, mutable, mysterious and full of temptation. The substance, formed by bits and pieces of line and flake, inflated with gas or liquid, and done with a natural hand and free spirit, are pretty much the product of the time of digitalization. It forcibly elevates the 3D bodies of desire up onto another continuum of interesting, there may be the youthful awe and curiosity toward the mysterious existence. It is hoped that the substance might forge amusing creatures capable of talking, which may connect up our isolated nerves and awake the prototype and soul deeply asleep, and may walk into our heart, tyrannically dominated by reason, and our body, abducted by desire and greed. It is for nothing but the bizarre and fictional self-awaking and self-intoxication, or momentary unfettered freedom and pure roaming of soul. Perhaps these are only a bright-coloured day dream or fantasy dancing swiftly. It does not matter, for we only have need of it.

The virtual and imaginative world has become part of our life. It has become the air we breathe. We will not discard it no matter intentionally or unintentionally. We will listen to its summoning, which travels in time, drifts with our soul and seeks to cherish every lively hope.