记得和阿海认识是我们还在学校做学生的时候。他的画连同他的幽默和轻松的态度给我留下了深刻的印象。之后我们就一直保持着友谊和交流。我对中国画的很多感受和认识来自于阿海。他是一个画家、一个笔墨的实践者，他和我的友谊让我直接感受到中国画的整个精神来源于笔墨。80年代末90年代初，阿海的绘画具有很强的新文人画气质，这个气质表现在个人的无要求、无追求的任性和个人质量的孤芳自赏的独立的混合上。这是一种无可奈何的对传统坚守的态度和立场。在整个90年代文化身份意识开始抬头并进入多元文化的年代里，新文人画很快被一种全球化的艺术实践覆盖住了。阿海艺术实践也同时被长时间的思考和疑惑所代替。这是一个阿海“失笔”的时期。2000年以来，在中国经济发展进入到一个令世人匪夷所思的阶段时，中国当代艺术发展也相应进入到一个自信以及自我价值诉求的阶段。阿海的笔墨意识被重新唤起，与生俱来的趣味又回到了他的创作中。与之前新文人画气质不同的是，阿海把一种极端个人感受明确地放在一种形式世界里。这个形式世界是一种大面积的色彩、是一种被意识再明确的方形画面。笔墨的自由和趣味需要在一种形式里认识和感受。这是一个时代的要求，同时也是一个时代的特点。

　　My acquaintance with Hai dates back to our school life. I was deeply impressed by his painting, as well as his humorous and relaxed attitude. After that we kept continuous friendship and communication. Many of my knowledge and judgment on Chinese painting come from Hai. He is a painter; a practicer of painting brush and ink. From our friendship, I directly sense that the whole spirit of Chinese painting originates from painting brush and ink. At the end of 1980s and the beginning of 1990s, Hai’s painting reflects strong new literary quality, which is the combination of individual willfulness without demand or pursuit, and characteristic independence with self-admiration. This is a kind of attitude sticking to tradition with no alternative. During the 1990s when the sense of cultural identity emerged and the multi-cultural age came, new literary painting was quickly covered by a global art practice. Hai’s art practice was also replaced by long-time thinking and doubt. This was an era when Hai“lost his painting brush.”Since 2000, Chinese economy has developed into an amazing stage, and modern Chinese art has accordingly developed into a confident stage with appeal for self value. Hai’s sense of painting brush and ink has been awakened, and his born interest returns to his creation. Different from the new literary quality before, Hai clearly places a type of extreme individual feelings into a world of form. This form world is a large size of color, and a square picture redefined by consciousness. The freedom and interest of painting brush and ink need to be recognized and experienced in a kind of form. This is an era’s request, as well as an era’s feature.

作者：冷林