我对于抽象形式的实践近二十年。抽象绘画于我已是一种生活的必须，是一种思想方法和呼吸方式。作品或画面的效果并非重点;我更在意表达语言及可能性探索的过程，体验死与生、破与立的内涵的过程。

　　I have been working with the abstract formality for nearly 20 years. Abstract painting is an essential part of my life and it is a way of thinking and breathing. The effect of the piece or the image is not the key, but I’m focusing more on the technique of painting and the process of exploring possibilities. This is the process of experiencing life and death, and the meaning of abolishing and establishing.

　　很幸运，我儿童时代接触到了大量唐宋文史艺术书籍，并在叔父的指导下临摹了大量的设色山水、宫廷界画和工笔花鸟等。宋代的山水画，虽然对象是山水景色，而体现的不仅是艺术家的幽美情趣、与自然和谐相处、自由恬静而悠然自得的心境;更展现了画家更深层次的生命意识及对社会、自然和人生的感悟。宋代达到了中国山水画发展最高峰，这与当时儒学的复兴、文学的革命、政治的文明化、文艺的平民化倾向密切相关。

　　Fortunately, I had access to a lot of Tang and Song dynasty literature and artduringmy childhood.Under my uncle’s guidance, I facsimiled many landscape and court paintings and fine brushwork flower-and-bird paintings. For the landscape paintings from the Song dynasty, even though the object is landscape, it shows the taste, the life in harmony with nature, and thefree and peaceful state of mind of artists. It also shows a deeper level in terms of the sense of life and the experience of society, as well as nature and the life of those artists. The Song dynasty was the peak of the development of the Chinese landscape, and this is closely related to the renaissance of Confucianism, the revolution of literature, as well as the civilization of politics and popularization of art.

　　李成、范宽和郭熙等山水大师的艺术风格及其折射出的人文精神在我年少的心中留下了深刻的印象，早年对于传统的研习也为我后来关于“拆解与重建”的的抽象实践奠下了基础。在此次探索中，我试图摒弃传统中国山水得以构成的纸本和矿物颜料，替之以丙烯、油彩和布面等西画材料，通过逐层罩染，以纯粹的线条和色块，对被拆解的古代山水元素进行概括与重组，并抽离所有原来的具体物像，从而造成全新的几何图式。画面看似纷乱，实则井然，将油画的醇厚绚丽、、版画的沉着细腻和水墨的虚实悠远融合一起。作品隐去传统文人的消极回避与个人解脱，重构当下缺失的自由、正义与秩序。这就是我的抽象作品系列之一《中国式山水》。

　　The style ofLiCheng, FanKuanand GuoXi,as well as the humanistic spirit their pieces reflect, left an impression on me as a child. The study of traditions at the early stage also laid a foundation for the later abstract practice of “Deconstruction and Reconstruction”. In this exploration, I tried to abandon the paper painting and mineral pigment which constituted the traditional Chinese landscape painting. Instead, I used propylene, paint and canvas and other materials that have usually been used in Western paintings. Through glazing, I applied pure lines and blocks to summarize, reconstruct and deconstructed traditional landscape elements. I removed all the previous specific images and formed a brand new geometry pattern. The picture appears to be chaotic but it is actually neat and tidy. It combines the richness and color of the oil painting, the composure and delicacy of the woodcut and the virtual essence of the ink painting. The piece conceals the negativity and self-relief of the ancient scholars, but it reconstructs the freedom, justice and order missing in this modern society. This is one from my series “Chinese Landscape”.

　　在我的抽象创作实践中，颠覆了早期具象绘画的经验，从工具到材料都进行了长期大胆的反复试验，这其中经历了太多的生死、破立、彷徨及无效。在无意识和下意识的实践中发现、锤炼属于新的独立的表达语言，并赋予冷静理性的画面构造。从开始的“布面水墨”、后来的“时空迹象”到近年的“中国式山水”，几乎每个系列都自然地叠加或融合了从孩提到成年不同阶段所涉猎的美术形式的技法和观念，从而形成这种具有个性风格的抽象形式，而这一切的发生与我的学习、生活及工作经历是息息相关的。

　　In my abstract work practice, I abandoned my previous representational painting experience, and I’ve conducted long-term and repetitive experiments with both tools and materials. There has been a lot of life and death, abolishment and establishment, confusion and invalidity in between. Discovering unconsciousness and sub-consciousness, tempering new and unique techniques of painting and providing rational image structure have been my goals. From the early canvas ink painting, to the later “signs of time and space” to the recent “Chinese landscape”, almost all of the series has naturally blended the techniques and concepts of the art forms I have been involved with from childhood through adulthood. As a result, the abstract form with character and style has now been formed. All these are related to my learning, my life and my work experience.

　　许多抽象艺术的实践者都声称或试图抛弃传统文化的包袱和早期经验的影响，从而投入到完全“纯粹”的抽象创作中。于我而言，完全脱离社会的背景、语境以及个人感受，探讨所谓纯粹的抽象形式是无从说起的。我的创作来源，都是社会、历史、自然、现实或情感在内心的投影，与知识经验和人性良知交织一起。每次创作都是具体的、唯一的捡视内心、拷问灵魂的过程。

　　Many abstract art practitionershave claimed or tried to abandon the package of traditional culture and the influence of the early-stage experience. They then put themselves into more complete and “pure” abstract works. For me, I completely cut off the social background, contest and personal feeling to discuss the so-called pure abstract form which means no place to begin with. The source of my creation is the projection of society, history, nature, reality or emotions. This is combined with knowledge, experience and humanity. Every creation represents the process of a specific and unique time that allows us to question our heart and soul.

　　厚的积累、宽的视野、独立的表达是重要的;纯净的精神品格更加不可或缺。我需要更多的学习实践，我也还在探索的路上。

　　Rich accumulation, broad vision and unique expression are important; but pure spiritual character is even more indispensable. I need to study and practice more and I’m on my way to explore.

　　应麦可

　　YingMaike

　　2016年10月

　　Oct. 2016