无论是从人形，文字、标识到图案交织重叠的广告招贴状的波普处理手法转换，还是将象征中国古典文化的山水与西方文明标志嫁接的表现方式，周湧一直在寻求一种有当代文化针对性的中国式的水墨语言方式，可以说他正越来越贴近他所追寻的这个目标。周湧的水墨图式延续了传统水墨的内部性质和技术因素因而具有了相应的历史意蕴，同时他又将其纳入当下文化情境当中对现实问题给予严肃关注。《小家庭》是想通过对家庭日常生活及对话的通俗化描绘来揭示今日中国社会日益强化的个性化生存状态及其面临的问题，作品因而又浸染着明显的批判色彩。这就给意欲介入当代的水墨艺术家以启示在传统语境丧失殆尽、日益网络化信息化的时代，经过适当处理的水墨语言完全有可能具备承载当代文化内涵的能力，从而在当代艺术中获得一席之地。

　　一摘自《水墨实验二十年》皮道坚

　　Zhou Yong keeps searching a way to add a contemporary pertinence into the traditional Chinese Ink Painting: from repeatedly lining the body-shape, characters, logos and patterns in a Pop way, to transplanting Chinese classic “hills and water” sights into a Western cultural symbols. And he is getting closer and closer to the goal. We can find historical taste from Zhou Yong’s painting since he preserves the internal feature and traditional skill of Ink Painting. But Zhou also instills the concern about current issues in modern society into his works. “A Small Family” exactly unveils people’s problems faced nowadays in China. And there is no doubt that the work gains a critical role in reality. Zhou points a direction to other Chinese Ink painters: under a world when tradition is shrinking and information is swelling, Chinese Ink Painting can still find a position in contemporary art world as long as it gains a trait of new skill.

　　-- from Twenty Years for Experiment Chinese Ink, Pi Daojian

作者：皮道坚