▲ 傅文俊作品《天堂鸟不在天堂》

"与徐冰用拼接去制造流动的影像艺术不同，傅文俊用叠加制造静态的摄影艺术。像徐冰并不改变影像一样，傅文俊也没有改变照片，他们都不是生产卡通或动漫的艺术家。徐冰用拼接的方式，将监控录像资料转变成了艺术品；傅文俊用叠加的方式，将普通照片转变成了艺术品。在傅文俊的作品中，有通过多层照片的叠加，造成抽象绘画的效果的“数绘抽象”系列。在通常情况下，艺术家通过减除和提取，就能将具象作品变成抽象作品。但是，傅文俊采取的是相反的路径，通过不断的叠加和累积，创造出抽象的作品。由于是叠加和累积，不是减除和提取，傅文俊的抽象数绘系列作品具有特殊的深度和密度，像反复绘制的油画作品一样，令人回味无穷。傅文俊用摄影来追求油画效果，与他早年从事油画创作有关。但是，傅文俊没有像大多数艺术家那样，利用照片来创作油画，而是相反，用照片来体现油画的趣味。”

——彭锋（北京大学艺术学院教授、2011年威尼斯双年展中国馆策展人）

"Different from Xu Bing, who uses the montage to produce video art in dynamic state, Fu Wenjun applies the overlying to create photography art in static state. Xu Bing does not change the videos, and similarly Fu Wenjun also does not change the photos. They are not artists who produce cartoon or manga. Xu Bing, with the method of montage, has transformed the surveillance videos into artwork; while Fu Wenjun, with the method of montage, has transformed the ordinary photos into artwork. In his works, Fu Wenjun does the overlying of photos in multiple levels, and creates the series Digital Painting Abstraction series featured with the effect of abstract painting. Normally, the artist can change a realistic work into an abstract one by way of deduction and extraction. However, Fu Wenjun has applied the opposite way, creating abstract works with constant overlying and accumulation. Thanks to the overlying and accumulation, not the deduction and extraction, his digital painting abstract workpieces are characterized by special depth and density, just like the repeatedly painted oil paintings, which provide endless aftertaste to the spectators. Probably with regard to his experience with oil painting creation in his early stage, Fu Wenjun uses the photography to pursue the effect of oil painting. Unlike many artists, he does not use photography to assist oil painting creation, but on the contrary, presents the delight of oil painting through the photography. ”

--- Peng Feng, Professor at Peking University School of Arts and curator of the Chinese Pavilion at the 54th Biennale di Venezia