一位性情相投的朋友向我引荐齐鹏，初不在意，偶然翻阅薄薄的小画册，好奇心却被悄然挑起。原因有二：一是其曲折的求学经历；二是其特殊的画面语言。电话沟通后，更惊讶于她清晰的思维和对艺术不无执拗的个体取向。
　　齐鹏本科毕业于上海戏剧学院舞美系，曾担任美术编辑，从事过展览策划和艺术管理工作，后进入中央美院学习，获美术史硕士及博士学位。仔细寻思，齐鹏经历看似轻松、顺畅，实乃颇费周折。其人生始于对绘画的迷恋，游离十余年后，又以深厚的学养重新介入，其观察视角及深入维度之于当年，自然有所不同。这让我由衷钦佩齐鹏，若没有足够的定力和毅力，何以有对艺术如此孜孜不倦的追求！
　　单纯意味着线性的人生经历，令人羡慕却无法赞赏；而丰富则是生命体验的多重交集，虽充满挑战却更加充实。这对艺术创作而言，尤为重要。齐鹏重拾画笔，过去所有的积累才刚刚开始彰显。为此，齐鹏已付出了近十年的努力，不断进行反省、思考，犹如一位虔诚的信徒，为了到达伽蓝圣地，历经千山万水，匍匐祷告，经年不悔。艺术之于她，宛若一株生长在内心的青藤，蔓延生长，遍布周身经脉，令人无从逃逸，也难以割舍。
　　齐鹏特别希望我能亲眼看看原作，毕竟原作呈现出的肌理效果和视觉张力，微妙的色彩变化和皴擦手法，是印刷品所不能代替的。然而，仅读画册，仍为之心动：作品中触觉的真实与视觉的虚幻互为转换，把原本对立的语言范畴置换到图像的表现领域。前者是对客观物象的捕捉，以线的游走呈现对象的真实形态，清晰的轮廓给观众以生动的质感，以至产生触觉的悸动，富含身体化的审美特征；后者凭主观感觉运用团块涂绘堆叠，瞬间的视觉印象因受心境、天光等莫可名状的内外因素影响，与真实事物之间产生一定的距离。前者相对静止，形象具有持久性；后者则充满运动感，边缘轮廓呈现含混不清的特点。物像意味着事物的意义和美首先在轮廓上寻找。虚化则恰恰相反，事物的意义和美正生发于脱离轮廓界线的边缘。因此，齐鹏的作品乃是触觉之于视觉的延伸、色彩之于形体的闪动、虚拟之于实体的冲突，更是心物之间微妙的形式转换。值得注意的是，画面中物质实在似乎正逐渐隐退，在感受中留下的乃是更加纯粹的虚化的视觉景观。
　　相较那些关注社会文化学、政治学、生态学的艺术家而言，齐鹏更迷恋于作品的风格及其形式，这种“去意义”的语言特征其本身意义何在？它既不属于主流叙事也不属于边缘言说，而是一种深入艺术本体，借助视觉反应进行感性表达的语言方式。“去意义”不等于没有意义，乃是对艺术意义庸俗化的某种反驳。这种回到个人体验的表现性，针对艺术与他者共谋的媚俗性，其实包含着理性思考与艺术观念的成分。在今天喧哗的社会现实情境中，以其反观自身的内省、非市场化的立场以及反同质化的姿态，而具十分积极的意义。
　　也许和齐鹏经历略有相似，同样学画出身，再闯入理论深渊。然而，齐鹏比我幸运，又转向艺术创作，此起彼伏，相得益彰。羡慕之余，说说自己想说的话。
是为序！
　　　　　　　　　　　　　　　　　　  2009年3月7日子夜
                                                                           写于广州珠江新城 

　　^_^A friend of similar interests recommended Qi Peng to me. At first I did not pay much attention until I occasionally leafed through her small and thin catalogue which caused my curiosity. There are two reasons: first is her tortuous study experience and second is her special painting language. After communicating through phone, I was more surprised by her clear thought and obdurate individual orientation for art.
　　Qi Peng graduated from the Department of Stage Design of Shanghai Theatre Academy. She used to be an art editor and was engaged in exhibition curation and art management. Later she entered Central Academy of Fine Arts and got a Master’s Degree and a Doctor’s Degree on art history. Qi Peng’s experience looks relaxing and smooth, however if considered carefully, it is rather labor-consuming. Her life began with the infatuation of painting. After more than a decade’s dissociation, she re-entered this field with much knowledge and her angle of observation is of course different from before. This made me truly admire Qi Peng. Without enough determination and perseverance, how could she have such a strong pursuit for art?
　　Simplicity means a linear life experience, admirable but not praisable. Abundance is a multiple intersection of life experiences, challenging and substantial. This is especially important for art creation. Qi Peng picked up her painting brush again and her past accumulation has just been shown. Qi Peng has devoted an effort of almost a decade, consistently thinking and self-examining, like a pious believer who creeps and prays all the way in order to get to the divine land. For her, art is like cirrus inside, spreads and grows until it is all over the blood-vessels. It is hard to flee from it or give it up.
　　Qi Peng hoped I could see her work personally because the texture effect, the visual tension, the delicate color changes and the painting techniques presented by original works cannot be replaced by print. However, seeing merely the catalogue can still touch one’s heart: the real sense of touch and the illusional vision transform into each other; the initially opposite language ranges are placed in the field of image expression. The former is the capture of objective images: the move of lines shows the real form of objects; clear shapes give the audience a vivid texture that can generate the throbs of the sense of touch which is full of aesthetic characteristics. The latter piles color blocks with subjective feelings; instant visual impression produces a certain distance between real things because of the influence of the state of mind, the weather and other internal or external elements. The former is relatively still and its image has persistence; the latter is full of motions and the edges of its shape show a character of ambiguity. The image of an object means that the meaning and the beauty of things can first be found in the shape. The course of emptying is exactly the contrary-the meaning and the beauty of things lies in the separation from the shape edges. Therefore, Qi Peng’s work are the extension of the sense of touch in vision, the sparkling of colors in body, the conflict of fiction against esse, and more importantly, the delicate form transformation between heart and material. What is worth mentioning, the actuality of the things in the picture seems gradually retreating, and what is left is purer and emptier visual landscape.
　　Compared with those artists who take more interest in Cultural Sociology, politics and ecology, Qi Peng is indulged in the style and the form of works. What is the meaning of this linguistic character of “being without meaning”? It does not belong to mainstream narration, nor does it belong to marginalized parlance. Drawing assistance from visual reaction, it is a linguistic form of sensible expressions that penetrates deep into the substance of art. “Being without meaning” does not equal to “no meaning”. It is actually some kind of refutation aiming at the philistinism of the meaning of art. This expression back to individual experience aims directly at the philistinism schemed together by art and others. It in fact includes the components of rational thought and art conception. In today’s noisy social situation, using it to self-examine ourselves, the position of non-commercialization and the gesture of anti-homogeneity is especially meaningful.
　　I might have a similar experience to Qi Peng’s. I studied painting at first, and then entered the abyss of theories. However, Qi Peng is luckier than me. She turned to art creation again, which has complemented her experience. I admire her and meanwhile speak out what I want to say as a foreword for her work.
　　　　　　　　　　　　　　　　　March 7, 2009, midnight
                                                             Zhujiang New Town, Guangzhou