Nowadays in China, it's an attitude or at least a personal choice to draw abstract paintings. It's a kind of deliberate deviation of the field which people are familiar with. It tries to seek for a kind of environment where a person can breathe freely. It's a journey in which an individual can perceive the nature inside himself and then touch his own heart with a form of abstract soliloquy. Thirty years ago, Pingjun and we were all busy taking exams for opportunities of further study, and now we found ourselves all in the field of abstract paintings after different experiences.
　　Pingjun went to China Academy of Art in Zhejiang Province and we went to China Central Academy of Fine Arts. Wherever we were, we had to experience the same fixed teaching model. This education provided us with the platform and influenced our thoughts, but after more than twenty years, we find that it is the tradition that we are talking about and trying to transcend. To break it or to follow it becomes a question which we are facing with together.
　　Without mature understanding of the concept of abstract painting and even the word abstract, we are still on the way of seeking and determining our own language of expression. Apparently, Pingjun's paintings have reached the level of creating his own environment. There is a kind of obscurity and uncertainty in his paintings, in which a kind of vitality comes out of those random and moving traces, just like the flowers flying in the sky and the traces of mind. Every indistinct spot emits unique fragrance, and Pingjun, like a bee flying among flowers, writes the article of his nature in every spot: Some spots can be felt by intuition; some are buried; some are shown; some are entangled with by him. He is really like a poet. The root of his paintings is human nature, which is a unique kind of tangle in his life. Looking at his paintings, I am moved by his purity and persistence. Pingjun is a little bit like Cangyangjiacuo, who is the 6th Dalai Lama and also known as a poet. Moreover, he is also on the way of purifying himself. This is Pingjun, and in our generation, it's a common view that a person's paintings can reflect his nature.
　　Just like good wine needs to purify, we also face the problem of purification and independence of painting language. When we attempt to get away from the academic circle which is mixed with traditional language and western language, we need to enrich our knowledge and perceive and confirm our own life and feelings. Pingjun has found a visual element, which is a kind of free trace, neither traditional Chinese water ink painting nor geometry shape, bestrewed in the whole painting. That trace is connected with the feelings in his heart and it is also the expression which he has determined. In a world where common views prevail, we are easy to be influenced by fixed thinking model and language model. In this kind of atmosphere, the efforts we made can be seen as a kind of escape or an attitude with which  we would rather examine ourselves than echo with the mainstream. On the other side, we try to find new forms from our traditional norm. At this point, we also face the problem that ordinary people do not possess such a level of spirit. It is precious that we can give up worldly value and face our soul to explore the most valuable truth in our life. No matter consciously or unconsciously, Pingjun's paintings have set foot in exploration of individual language and a state of self-examination and renovation.

Burigude at Ming Tombs International Art Park, Changping District
August 18th, 2013

作者：Burigude