在《恋人絮语》中，哲学家罗兰·巴特把与爱纠结在一起的快感、焦虑、失望和渴望作为自己的主题。他参考了文学文本和个人告白，阐释了吸引和幻想的不同阶段，同时还保持了对于他者而言自我的内在孤独与绝望的潜台词。看到艺术家冯斌《舞影》系列的绘画作品，巴特话语的复杂性便很容易想象了。冯斌在这些画作中着眼于自我与他者的关系，审视了每个人对舞伴的一连串预期与盼望。通过这些描绘男人和女人在跳舞时相互触碰的画作，冯斌追念那些通常会被视为转瞬即逝的邂逅。他将影子般的人物描绘在不明确的背景上，强化了这类个人瞬间的短暂，邀请观众思索陌生人的爱恨情仇。

《起舞弄红影》局部

冯斌刻划的大部分舞伴都被裁切了，并且置于画面前景中，让观众感觉实际上也在附近跳舞。这种构图手法营造出与跳舞者产生一定程度的熟识感，彷彿观众也身临其境，与作品中的其他人联系起来。黑色背景中的轨道灯暗示了从我们当下的世界迁移到一个遥远的地方，也暗示了舞蹈在跳舞者的想象下产生了同样令人心旷神怡的效果。包房装饰灯那种矫揉造作的橙色和红色灯光，也有助于构建一种具有性暗示的氛围以及跳舞者之间强烈感情的外现。头顶上闪光灯球在房子周围形成的反光，呈现出行星般的排列，跳舞者彷彿滑向地球的边缘。衬衫、礼服和席地长裙十分合体，又或者随意地搭在宽松的长裤上，暗示了跳舞者及其对舞蹈渴求的多样性。在冯斌的画作中，欲望以一种模糊如梦境般的水彩画方式呈现出来。他把颜料及绵绸的结合为跳舞的场景赋予了一种内在结构上的精美微妙。

Feng depicts most of the couples cropped and in the foreground of his paintings effectively giving the viewer the feeling of also dancing nearby.  This compositional strategy creates a level of familiarity with the dancers as the viewer becomes present as a body relative to the others located in his work. Orbital lights in the black background suggest the translocation from our immediate world to a distant place suggesting the same transport effect of the dance on the imaginations of the dancers. Artificial orange and red colors from the karaoke lights help to construct a sexualized atmosphere and the appearance of passion between the dancers. Reflections spinning around the room from the disco ball above take on planetary formations, and the dancers seem to glide on the edge of the earth. The combination of the dresses, floor length gowns, and shirts fitted and tucked, or loosely hanging over baggy pants suggest the diversity of dancers and their desires at the dance. This weight of desires takes on a blurry, dreamy, watercolor quality in Feng’s paintings.  His saturation of paint on silk brings an inherent structural delicacy to the dancing scenes. 

《起舞弄红影》局部

中国各个城市广场上晚间舞会随处可见。2006年冯斌从中得到灵感之后，便开始绘画跳舞的人们。冯斌的舞伴浪漫但却并不沉醉于浪漫幻想，诉诸于充满欲念和爱的外表，暂时脱离了都市的疏离感。夜总会灯光发放的热力与跳舞者之间的真实关系形成了对比。虽然他们看起来相爱，跳舞者身体上和象征意义上都是在做着动作，但他们的内心欲望并不是显而易见的，而跳舞的表演也许满足了他们，也许没有。

Feng Bin began painting dancers in 2006 after being inspired by the evening dances that happen in city squares across China. Romantic but not romanticized, Feng’s couples speak to the appearance of lust and love, and the momentary reprieve from urban alienation. The warming effect of the nightclub lights may be in contrast to the actual relationships between the dancers. Though they may appear loving, the dancers are physically and figuratively going through the motions. Their inner desires are not apparent, and their performance through dance may or may not fulfill them. 

《起舞弄红影》局部

《起舞弄红影》局部

冯斌早期的作品系列，多着眼于西藏的男女和僧侣。例如，《风兮风兮》（1994年）这幅作品，揭示出冯斌对于处在抵御即将来临的风霜雨雪的状态中那些坚强的人物的兴趣，也表现了他在西藏妇女满是大量图案的服装的层次细节上有着高超的技艺。冯斌捕捉到人物的沉重以及他们以这样一种方式前行的决心，这使得他们的旅程充满了英雄主义色彩。

Feng’s earlier painting series focuses on Tibetan men, women, and monks. Paintings such as Wind, Wind (1994) show Feng’s interest in purposeful bodies in motion working against the elements to arrive, as well as his high level of skill in rendering the details of the dense layers of the Tibetan women’s heavily patterned clothing. In doing so, Feng captures the tension between the heaviness of the figures and their determination to move in such a way that their journeys become heroic. 

冯斌 ,《风兮风兮》

中国画颜料、丙烯，绵绸

138cm×132 cm，1994

（台湾山艺术收藏）

冯斌， 《新寺》（之一）

中国画颜料、丙烯，绵绸

83cm×85 cm，1993

（英国大英博物馆收藏）

2000年，冯斌开始展示表现具有大量几何形体和鲜亮图案风格的西藏建筑画作，往往有一个身披袈裟的人物从建筑物旁匆匆走过。这一组合突出了历史悠久的建筑物——大部分是庙宇——朦胧地刻划出人物那种软弱孤单，这也让人想到人生的无常。在这两个系列中，冯斌刻划了在过去几个世纪中都可以看到的主题，不过，他对色彩和动作刻划风格的选择，使得这些作品更显当代性。

In a later series from around 2000, Feng began presenting paintings of Tibetan architecture in a heavily geometric and bright graphic style often with a single cloaked figure hastily rushing by.  The combination highlights the long historical past of the structures, most of which are temples, and the timid isolation of the single figure, which, depicted vaporously, is a reminder of the transience of life. In both series, Feng depicts subject matter that could be observed throughout the past several centuries, however, his selection of colors and style of depicting movement make the paintings quite contemporary. 

《起舞弄红影》草图

冯斌的作品有赖于他在中国和欧洲传统绘画方面所接受的正统训练。他利用了这些传统，将他们用来表现当代处于动感中的人物上。就冯斌当下艺术生涯的轨迹而言，《舞影》系列既是起点也是延续。新作的空间语境跟早期的不同，而他对人物动感和心理状态的描绘则更加得以发展。

Feng’s work is informed by his classical training in traditional Chinese and European painting. He takes these traditions and frees them into renditions of the contemporary body in motion. Given the iconographic trajectory of Feng’s recent career, the Dancing Series is both a departure and a continuum. The spatial context differs from his earlier work, and his interest in the movement of the figure and his or her psychological state has become more developed.