以每小时160公里的速度，驾车行驶在北京通往燕郊的高速路上，常有如入无人之境之快感。有些路段地面起伏更迭，视平线忽高忽低，不乏变化，远处出现在视野中的只是寂寥的村落和灰灰的厂房。那里有许多文革时期留下的遗迹，这些遗迹的生成年代似乎与陈文骥的成长经历有着许多相仿之处。作为教师的陈文骥常常早出晚归，往返于这道独特的风景线上。作品中一段残墙，一介烟囱，一根旗杆，在他“观光“的作用下，更与观者拉开了一段长长的距离，增添了一份灰色的冷静。它们象是一幅被凝固的图像，一段被晨曦和晚霞的暖意笼罩了的历史。这段在现实中曾经是“红色”的历史，业已成为我们今天灰色的记忆。陈文骥带给我们的灰色，不乏玄机：它既带暖意又很沉闷；画面的物象尽管具体真切，却让人缺乏信任。仿佛这种依附在事物性质转折边缘的灰色，是传递某种危险的信号，它可以“美如画”，也可以遭遇无病呻吟的陷阱。

（谭平《观想》 摘自观光2004 P14-15 ）

　　Driving on the highway to Yanjiao from downtown Beijing in a speed of 160 kilometer per hour, one often enjoys a sense of happiness just like nobody around you. For some parts of the highway, the horizon is up and down, full of changes. In distance, the driver sees several villages and r grey factory buildings. There still remain many historical sites of the "Cultural Revolution", which were built in the same period as Chen Wenji grew up. As a teacher, Chen very often left home very to early to teach and returned very late, traveled back and forth to see the unique landscape along both sides of the highway. Through his "sightseeing", a segment of wall, a chimney and a flag poll on canvas keep a long distance from viewers, add up to a feeling of grey calmness. The pictures look frozen and historical, surrounded by warmth at sunrise and sunset. This period in reality was a "red" one in history. It has been part of our grey memories today. The grey colour Chen has brought us to read is no wonder mysterious, which both gives a sense of warmth and of dullness. Although his objects depicted into great details and in a very realistic style, they might have let viewers lose confidence. Seemingly that kind of grey colours emerged out of the boundaries of the objects like an object's essence intends to transmit a signal of some sort of danger, which might be" as beautiful as a great painting", or a pitfall as if one were very sick.

Tan Ping

作者：谭平