痕迹 · 物质 · 时间

我从一九八八年开始学院派的绘画练习，至今三十八年。前二十年的训练教我让手服从眼睛：造型、结构、再现。2003 年到 2017 年，我在巴黎生活和创作了十四年，在那里我开始以--“画面是否值得被保留，而不是画面是否符合预想”--作为创作的出发点。我还记得第一次让我产生这个想法的场景，那是一个深夜，银粉擦过黑色的底子，透出一种没有被计划过的直觉吸引力。那次触动之后我知道了两件事：画面上最好的东西不是我画上去的，是在材料、动作和时间里自己呈现出来的；而我的全部训练，价值在于识别它、保住它。

In 1988 I began my academic training in painting, and have now painted for thirty-eight years. The first twenty years of training taught my hand to obey my eye: form, structure, representation. From 2003 to 2017 I lived and created in Paris for fourteen years, and there I began to take — "whether a painting deserves to be kept, rather than whether it matches what I intended" — as my starting point. I still remember the scene that first gave me this idea: late one night, silver powder rubbed across a black ground, giving off an unplanned, intuitive attraction. After that moment I knew two things: the best things on a canvas are not what I put there, but what presents itself of its own accord in the material, the gesture, and time; and the value of all my training lies in recognizing it and keeping it.

从那以后我的工作集中在：让色层说话。我用滚轮、刮板、海绵、砂纸工作，也用最古典的多层罩染；我给画做工序档案，记录材料的配比、覆盖的层数、等待的天数，也记录哪一天画没救了？问题在哪一笔，哪次修改？色层的加法把每一次直觉的选择孕育出矿脉，减法——刮擦、打磨——让被掩埋的矿脉与时间一起偶然显现。

From then on my work has centered on one thing: letting the layers of color speak. I work with rollers, scrapers, sponges, sandpaper, and also with the most classical multi-layer glazing. I keep process files for my paintings, recording the proportions of materials, the number of layers covered, the days spent waiting — and also noting which day a painting went beyond saving. Where did it go wrong, in which stroke, in which revision? The addition of layers turns each intuitive choice into a vein of ore; the subtraction — scraping, sanding — lets the buried vein emerge by chance, together with time.

后来，我呈现的不是图像，而是痕迹：身体留在物质上的痕迹，时间沉积在色层上的痕迹。观众不需要读懂什么，只需要走近，再退后，不同距离的体验，跟随直觉就好。

In the end, what I present is not an image but traces: the traces a body leaves in matter, the traces time deposits in layers of color. The viewer need not understand anything — only step close, then step back, to experience it at different distances, and follow intuition.