邓箭今的作品是紧张的，不安的情绪始终缭绕。邓箭今的作品貌似入世，其实是出世的，邓箭今更多地关注一种学术的形而上的东西，邓箭今的作品是“露骨”的，他对暴力美学的追求是一贯的。他对绘画本身的关注，在我看来，远远超过了他对现实的关注。或者说，他是为了一种绘画的理想，才去寻找现实的途径的。邓箭今一直抱定表现主义不撒手，因为表现主义更有利于他的内心独白和心理倾诉。邓箭今最近的作品《夕阳为什么让我们如此美丽》虽然依旧可以看到暴力和隐藏的血腥，但浪漫的情色第一次出现在了他的画面中，这种有别于《青春期》残酷色情的浪漫情色，使邓箭今完成了他的突围。这组作品洋溢着慵懒、低迷、烦躁和不安的末世情绪，让人想起缪塞的《一个世纪儿的忏悔》。邓箭今依然故我地将他的人物和时空处理成哲学意味浓厚的抽象概念，画面中的人物姿势没有一个是“合理”的，但也正因为这种“杜撰”，整个画面有了向外扯的张力。情色的非常检点、非常控制的使用，伴随人物的自我桎梏般的阴影，貌似偶发的打破或均衡画面的流星似的象征物，半色和混合色甚至最低色调的均匀处理，使这组作品产生了顽强的生命力和社会间离效果。
　　黄燎原 2005年
　　邓箭今的早期作品虽然与梦境有关，与情色和色情有关，与偷窥和自恋有关，但却毫无娱乐性，是一种放大了的，极其严肃的、甚至是矫枉过正的个人英雄主义写照，它背负着五千年文明的历史包袱和近现代中国人民的所有压抑和苦难，是一种花大力气的、正派的拯救的方式。90年代末，邓箭今在《有关目击者的梦境》系列中，虽然延续了他一贯的“表现”和“私密”的话语风格，但是调侃和玩笑之风开始盛行于色彩拥挤的画面，并为“感伤的青春”和“忧心重重的情怀”开启了一扇透气的风门，从此，邓箭今游刃有余，思想得以自由穿行。在2001年开始的《夕阳为什么让我们如此美丽》系列中，邓箭今更是仿如经历了一次沐浴着无限春光的爱情，虽然爱到流血但是无怨无悔，色彩的飘飞和形体的腾空，都像是欢呼和致意，向一种美好的生活和秩序。2004年，邓箭今的作品中甚至出现了类似装饰画中的细腻柔媚线条和“清纯的人物造型”，显示出艺术家归于平静和宁静的自然心境。
　　黄燎原2005年

　　Deng Jianjin’s works are always filled with nervous and uneasy emotions. Deng Jianjin’s works look like positive but actually, they are negative. Deng Jianjin more concerns some metaphysical things on academics. Deng Jianjin’s works are “explicit”. His pursue of the aesthetics of violence has been consistent. In my opinion, his concerns on painting are far more than the concerns on reality. In other words, he is looking for a practical way for a kind of ideal of painting. Deng Jianjin is coherent to expressionism, because it is more conducive to his inner monologue and psychological talk. In Deng Jianjin’s recent work Why Does The Sunset Make Us So Beautiful, we still can see the violence and the hidden bloodiness, but the romance firstly came out in his screen. This brutal and erotic romance different from Adolescent made Deng Jianjin accomplish his break. This series is filled with lazy, depressed, agitated and uneasy emotions of the end of the world, reminiscent of Musset’s The Confession of a Child of the Age. Deng Jianjin still insists on dealing his figures and time-space in the philosophical way of abstract concepts. None of the postures of the figures in the screen is “reasonable”. However, just because of this kind of “fabrication”, the whole screen has the tension pulling out.  The very watchful and controlled use of eroticism, the shadows of the shackles of selfness, and the meteor-like seemingly accidental symbols breaking the balance of the picture, along with the even dealing with the half color, mixed color and even the lowest color, give the series strong vitality and social effect of alienation.
　　Huang Liaoyuan　2005
　　Although Deng Jianjin’s early works have relation with dream, eroticism, pornography, peeping and narcissism, they don’t have the quality of entertainment. They are the portrayal of an enlarged, very serious and even excessive personal heroism, bearing the historical burden of the civilization of 5000 years and the suffering and oppression of the modern Chinese people. It is an upright salvation with great efforts. In the late 1990s, in the series of Deng Jianjin continues his inherent style of being “expressive” and “secret”, but ridicule and joke become prevailing in the crowdedly colorful screen, opening a door for ventilation for “the pathos of youth” and “worrying emotions”. Afterwards, Deng Jianjin is sophisticated to free his thoughts. In the series Why Does the Sunset Make Us So Beautiful starting from 2001, Deng Jianjin looks like going through a love showering infinite spring. Although love is to bloodshed, but it’s regretless. Both the float of color and the jump of shape are like cheers and tributes towards a fine life and order. In 2004, the fine and soft lines and “the pure figures” appear in Deng Jianjin’s works, illustrating that the artist has returned to the quiet and calm mind.
　　Huang Liaoyuan　2005

作者：黄燎原