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无相虚实飘灵的序，打散了传统画序的冗长。用禅语诠释着创新的内核，重塑创新的精髓。无相的灵魂。在具象与抽象之间游离。面对架上自然泼彩传递的信息，感受着无相的庄严、花神的浪漫、岩画生肖的苍桑，24节气花卉的秀美。感受着一种莫名的浪漫，莫名感动。观无相泼彩似乎感受到画里蕴藏着宇宙无限的奥秘。信息扑面而来，直击观者灵魂深处。无相系列传递的正是从未有过的真诚和不自我欺的信赖。

自然泼彩是把中国画颜料的水性与油画颜料的油性对立矛盾统一、相融、裂变，改变了油画与国画颜料的气质。自然泼彩恰到好处的将情绪重叠，自然流淌似有规律，却不可复制，不可重复。每幅作品创作前，需要大量工作去做。总要反复去读懂所创作对象的环境状态，与之交流直到感受到某一个点，反复泼之，将内核深处表现出来。释放着沉睡在被创作对象心底的情感。自然泼彩的肌理与画面构成似乎是将囚禁在历史里的灵魂彻底释放。自然泼彩，打破油画与中国画不可逾越的咒语。释放着沉睡在矛盾的灵魂。让观者的眼睛如炬一样穿透时间，穿透坚硬的外壳进行深度思考。经过无笔触的自然流淌，力求完美，自然再现泼彩艺术神品里唯美神明的影子。

每一幅作品构图顶天立地，试图传递着不同的理念。特别是从画面中感受宋画的大山大水，大开大合带来的视觉震撼。在自然面前，人类似乎是脆弱的，情感是荒芜的，只有作品情感炽热，激情澎湃，坚强倔强一览无余。

寻根无相，创新，似乎是在当下当代艺术中挖掘回溯，就象在田野中调查，再对亿万年前原始艺术进行考古，试图将岩画中的原始性，制作岩画的磨刻力量与观者放在同一轴线，反复叙述，重叠，力求达到共识的语境。

《无相》自然泼彩，展示的作品就是“破”，打破了中国画中的线条，打破油画的色彩。打破绘画专业的习惯和经验，打破延续千百年来绘画人为的线条，精准精致的描绘。打破专业画家自以为傲的色彩冷暖，透视以及自以为的灵感与知识，智慧带来的傲慢。不得不承认，《无相》系列少人为的自然泼彩画面，似乎正是传递着对经典艺术的致敬。更稳妥的表达艺术的情感冲突，绘画立场，冥冥之中这种自然天成的作品好像是早就借了一些不言及明的自然现象，宇宙符号，所有的形成都显得顺理成章，无任何造作。

作画贵在立意，若无立意，美工无益。无相系列泼彩呈现的画面不论是《庄子逍遥》、《东坡赤壁》，还是《曹操观沧海》《面壁参禅》都强调着复古艺术的革新与反叛，拉起了新的标准。完成丢掉人为的线条、笔触，却又反过来传承了自然的最终极的视觉效果。美的本质，就是自然流动，就是人类精神家园的终极回归。无相，正是这种自然无痕解构了对绘画结构的别样解读。诠释呈现着对绘画的别样高度信任，回归自然。

《无相》系列泼彩，将成为我绘画创新的历程碑，会成为经典或者说，向传统绘画寻根溯源，向艺术开刀的典范。这个创新的自然泼彩画种的偶然性与必然性足以排进创新画种的序列。这是对传统绘画这类母题悠长的致敬。自然泼彩摒弃了我们自以为傲的精湛技法，玄之有玄的色彩构成，笔墨变幻的线条，如醉如痴，纵横交错，长短有序，表达情绪的笔触。作品中没有人为的一笔或一个摆弄，全是由心自然而为。这就是对传统绘画质疑的同时也是最高最崇敬的致敬。颠覆了传统也是对传统的信任。颠覆就是找到本源，找到根，而后进行破坏性的创新。

观无相画作，远观很明显的能感觉到，自然无笔触流动感以及色彩斑斓的唯美。近看却似乎触碰了千年的苍桑感，静静诉说着遥远的事与人。这种动态的静态的都变得直截了当。这正是创新的价值力量。

无相系列，无意识的合了无为无而不为的全新画种—自然泼绘。

Formless

Preface

YUAN Xiaolou

The virtual-real and illusory preface of Formless breaks up the lengthiness of the preface of traditional paintings, interpreting the core and reinventing the essence of innovation with Zen. The soul that has “Formless” floats freely between figuration and abstraction. Facing the message transmitted from the natural splashing, I could feel the solemnity of “Formless”, the romance of the flower Goddess, the vicissitude of the zodiac of rock paintings, and the beauty of flowers of the 24 solar terms, at the same time imbued with a kind of inexplicable romance, and inexpressible affection. Appreciating the “Formless” color splashing, I seem to have felt that the painting contains the infinite mystery of the universe. The painting is speaking to me and directly the soul of the viewer. What the “Formless” series conveys is exactly the sincerity that has never been before and the trust without self-deception.

Natural splashing is to unify, blend and create fission of the opposition and contradiction of the water quality of Chinese painting pigments and the oil quality of oil paints, thereby changing the temperament of oil painting and Chinese painting pigments. Natural splashing just happens to put layers of emotions in one stack. Natural flow seems to be the norm, but cannot be copied, cannot be repeated. A lot of work needs to be done before each work is created. Always read repeatedly and understand the environmental state of the created object, and communicate with it until you feel a certain point is reached where by repeatedly splashing it, it reveals the depth of the kernel, unleashing the emotions that sleep in the heart of the object being created. The texture and composition of natural splashing seems to be the complete release of the soul imprisoned in history. Naturally splashing, breaks the insurmountable spell of oil painting and Chinese painting, releases the soul that is sleeping in contradiction. Viewer's eyes penetrate the time like a torch; penetrate the hard outer shell for deep thinking. After the natural flow of no touching, strive for perfection; naturally reproduce the shadow of the beautiful Goddess in the magic products of the splashing art.

Each piece of work is top-notch, trying to convey different ideas. In particular, from the picture, I feel the great mountains and waters of Song painting, and the visual shock brought by the grand opening and closing. In the face of nature, human beings seem to be fragile, and emotion is barren, only the artworks are hot, passionate, strong and unobtrusive.

Seeking roots of “Formless”, innovation seems to be mining backtracking in contemporary art, just like investigating in the fields, carrying out archaeological research of the primitive art hundreds of millions of years ago, trying to put the originality in the rock painting, putting the grinding power of the rock painting and the viewer on the same axis. The painting repeats the narrative, overlap, and strive to reach a consensus context.

“Formless" is naturally splashed, and the works displayed are "broken", meaning breaking the lines in Chinese painting and the color of oil painting, breaking the habits and overthrowing the experience of the professional painters, the artificial lines of painting that have been continued for thousands of years, the precise and delicate depiction. It also run against the color changes in temperature that professional painter takes pride in, the self-righteous inspiration and knowledge, the conspicuous arrogance brought by wisdom. I have to admit that seemingly the less artificial but natural splashing picture of the "Formless" series is transmitting exactly a tribute to the classic art. A more secure expression of artistic emotional conflict, painting stand, and in the midst of it, this kind of natural works seems to have borrowed some self-evident natural phenomena, cosmic symbols, and all the formations seem logical, without any creation or artificiality.

Conception is the soul of painting, and if there is no conception, the art is of no value. Whether it is "Zhuangzi Xiaoyao (Zhuangzi Free and Unfettered)", "Dongpo Chibi", or "Cao Cao Guan Canghai (Cao Cao Views the Sea)" and "Zen Meditation Facing Wall" etc., all pictures presented by the “No Form” series through color splashing emphasize the innovation and rebellion of the retro art, which has set a new standard. Complete the loss of artificial lines, strokes, but in turn inherit the ultimate visual effect of nature. The essence of beauty is the natural flow, which is the ultimate return of the human spiritual homestead. No Form, it is precisely this kind of natural and flawless art that deconstructs a different interpretation of the structure of painting. Interpretation presents a high degree of trust in painting and a return to nature.

The “Formless” series of splashing color will become a milestone in the innovation of my paintings. It will become a classic, or a paradigm that traces the roots of traditional painting. The contingency and inevitability of this innovative natural splash painting is enough to rank into innovative paintings. This is a homage to the motifs of traditional painting. Natural splashing has abandoned the superb technique that we are proud of, the mysterious color composition, the changing lines of ink and brush, and the intoxicated, criss-crossed, long and short, and expressive strokes of emotions.  In the work, there is no artificial stroke or a fiddle, all comes from the heart of nature. While questioning traditional painting, this is also the highest and most respected tribute. Subverting tradition, while it is also a trust in tradition. Subversion is to find the source, find the root, and then carry out destructive innovation.

Appreciating “Formless” paintings, it’s obvious from a distance that you can feel the sense of natural brushless and the colorful beauty. Yet a closer look seems to have touched the sense of vicissitude of millennium, quietly telling stories of distant things and people. This kind of dynamic, static, all have become straightforwardness, and this is exactly the value of innovation.

The “Formless” series, unconsciously combines with a brand new type of painting, i.e., action through inaction - natural splashing.