梁铨是早年留学美国的“海归”艺术家。1983年归国后，他的作品仍沿用宣纸、彩墨等传统材料，但画面的抽象表现性十分显着。他重视制作过程，擅长用“面”来形成作品整体布局。在画面上，他精心地将一块块大小、形状各异的手撕宣纸进行拼贴、覆盖和组合，施以丰富、浓郁的彩墨墨色，于是构成一种极为个性化的、成熟的抽象风格。到1990年代末，梁铨一直在作品中表现出掌控、经营抽象画面的娴熟技巧和才情。他从从容容地用一些很随意的线和符号来调整画面，从而强化几何形态的表现力和整体美感。表面上看，他似乎得到美国抽象表现主义的真传，精通抽象语汇和形式。但宣纸上的笔触和墨韵，又暗合了中国传统绘画的文脉。他的作品融合了两种不同文化背景的语言因素，既体现出新颖、唯美的视觉张力，又渗透出一种典雅、高远的气度。由此，梁铨将自己的艺术创作提升为一种高姿态、跨文化的精神舞蹈。

　　后来，梁铨作越来越多的减法，直至把作品制作过程归结为一种循环往复的劳作和修炼。多年来，他一直做着刷纸、贴纸这同一件事，持之以恒地追求作品空间中的空灵禅意。画面也逐步减弱表现性，渗透出冷抽象因素。在过程中，他把一条条宣纸刷上墨色，再以横向平行方式随意码放、叠加到画面上，虽有部分其它色彩、线条掺入，但侧重的是一种无意义的形而上暗示。于是，他索性把工作的创作性大大淡化、弱化，仅仅把宣纸刷上淡墨，再粘贴、托裱到画面上，这几乎成了梁铨近几年来的一种日常功课。最后，他的画面往往只还原为一些不同的横向纹样。对梁铨而言，世界只分为两个部分，即画面与画面以外的地方。画面以外，红尘万丈。而落实到画面上，他就可以凭借日复一日的简单劳作来消解艺术创作的既有规则和方法，消解作品的价值及其作为艺术语境存在的名利场逻辑，从而保持独立于现代科技文明、消费时尚之外的悠然态度，获得一种人文意义上的超然存在。由此，梁铨自认为建构着他的“空无”概念。通过这种对澄明的“空无”境界的追求，他探求着无限，并期望着最大限度的精神解放。

 顾振清

朱屺瞻艺术馆执行馆长

　　Liang Quan returned to China after his study abroad years ago. After his return in 1983, his work still employed traditional materials like rice paper, color ink. With emphasis on the production, he made good use of layers in the composition. And he used hand-sliced rice papers – of different size and shape – for the collage, cover and juxtaposition, with rich color inks so that he achieved an abstract, individualistic and mellow style. Since the end of 1990, Liang’s outputs have demonstrated the excellent command of abstract composition and conspicuous talent. He adjusts his paintings with random lines and symbols to enhance the geometric expression and overall effect. His work is seemingly derived from the American abstract expression, and shows the marvelous grip of abstract vocabularies and forms. However, the brush and ink echo the practice of traditional Chinese painting. Composed of two different cultural elements, Liang’s production looks both originally and aesthetically strong as well as elegant and graceful. Therefore, he has turned his art into a highbrow yet cross-over spiritual dance.

　　Years later, Liang Quan adopts a make-it-less approach, leading the production into a laborious loop. For ages he has kept brushing and sticking papers so as to maintain the Zen-thinking in his art. Then the expressive is on the decline while much colder abstract elements on the rise. During the whole course, he painted the slices of papers with ink and juxtaposed them horizontally and randomly on the paper. Though there are many other colors and lines, the work hints at the meaningless and the metaphysical. Thus, he greatly reduces the creativity of his work and ends up with his current practices like painting with faint shades of ink, pasting and framing. Eventually, his works show no other than some horizontal textures. For the artist, the world is divided into two, that is, inside and outside of the frame. And it is the reality that goes beyond the frame. So back to the paper, he replaces, with the repeated simple labor work, the existing rule and methods in art creation as well as the value and vanity-fair logic in the context of art. And by so doing, he maintains an easy mood unaffected by the modern technologies, fashion and consumer culture, and reaches the extraordinary existence. Hence, he thinks he is constructing his concept of “void”. In pursuit of such a clear “void”, he is exploring the infinite and longing for the emancipation of spirits at most.

　　                                                   Gu Zhenqing

　　Executive Director, Zhu Qizhan Art Museum