我关心绘画手段作为绘画本身独立存在的可能性。一幅画面，充其量显现给我们的是画面上那薄薄的一层皮，之后的一切阐释都是这张皮所派生的。我的任务是地地道弄好这层薄皮。想想看，多少自然学科、社会学科围绕着这层表皮在研讨、在理论、在形而上，这是艺术家们生存的大环境，非常重要。但只是环境，不是本体。我的本体是画面上呈现出的表层。它是一层肌理，它要有干燥的过程，它要有承载物，颜料的颗粒粗细直接折射出色彩的饱和度。

　　你可以让哲学家、政治家、史学家、鉴赏家、人类学家以及每一个人告诉我们，艺术是甚么，应该怎样去创作。但这全是宏观上的概念。你不想听听一个艺术家的见解吗?他真的只是希望在他自己工作室的某个下午，用细毛笔把架上还湿着的那幅作品的右上角的边缘部分从金橘红渲染过渡到银橘红!

　　我希望每一幅画都是一次新的开端，出现美妙的新的体验。不再依赖对自然的描绘，不拘泥于自然世界，只专注营造画面，尽可能最大程度地追求画面中出现的平整、简洁、明了，追求颜色细微变化、纯美和戏剧性。

　　What I care for is the possibility for painting methods to exist independently as the painting itself. A painting can only show us a thin husk at most, and future explanations are derived from this husk. My task is to make this thin husk perfect. Just think how many natural scientists and social scientists are studying and discussing this husk. In form, this is the macro environment where artists live, which is very important. However, it is only the environment, not the object. My object is the surface layer presented on the painting. It is a layer of texture, which needs a drying process and content, the thickness of the dye grain directly refracting the coloring saturation.

　　You can let philosophers, politicians, historians, connoisseurs, anthropologist and everyone of them tell me what art is and how it is created. But this is macro concept. Don’t you want to listen to an artist’s view? He really hopes to spend some afternoon in his studio using a thin brush to dye and transit the edge of top right corner of the wet work still on the frame from Kumquat red to Silver Orange Red.

　　I hope every painting is a new beginning, with wonderful new experience. I no longer rely on description of nature, not restricted in the natural world, but focused on creating the painting. Moreover, I try every way to pursue smoothness, simplicity palpability in the painting, and also subtle change of colors, pure beauty and dramatics.

作者：苏笑柏