去年底，我从张伟手中接过了他刚印好的画册，回家后很认真的从文章到作品全看了一遍。从画面内容看，大部分的主题和画风一如以往，但部分的画面首次在“青春”主题之外有了新的萌动。而且这些作品憾有的对画面背景作了具体的表达。这些着意细节描述的画面有异于以往的人物对象和环境，是我们非常熟悉的生活场景。不过对这些平常人家的探访则显得并不平常。和以往“守”在画室里写生不同，这次他是提着画具走进那些朋友亲戚家里去窥探过往的熟视无睹，期许曾经的蛛丝马迹会带来即见所得。但这并不是说他开始游离早已逝去的那段“青春”。而是相反，他只是越发的接近自己的本质。

　　事实上我一直认为张伟的作品并非“青春”的主题，或者准确的讲，在《海阔天空》、《好好学习天天向上》和《花样年华》那一时期的作品后，他的所谓绘画主题即以“蜕变”。这种蜕变的实质消散了某种传统的构架，削减了过度刻画的绘画语言，使“青春”的这个对象不再是一些感觉的类或说感官直接对象的观念，而是一个可被推论的知觉。也就是说：他把“青春”作为知觉的间接对象，通过绘画语言记录并为我们感知。

　　他的“青春”并没有显现出我们所理解的那种活力、美好;迷惘、困惑;无知与无奈。而是不经意的表现出了群体性的《我们在一起》的那种孤独。每个人都是一个完整版的记录。在《最后一课》的《毕业生》、《三月里》的《童年》中都有所表露。但这些个体之间并没有应有的关联，他(她)们只是被画家记录着，其实质是记录与被记录者之间的对话，而被记录者的场景有意无意的被忽略了，所以这些场景往往是有颜色的空白。这里的原因，或者是画家着意于一种工作的方式;也或者是画家内心的孤独和长时间的外向内隐。背景空白的延伸显示了他对物象感知的推论过程，也是其内心深处的自我复述，但这种复述并不需要背书，它只是满足内心诉说的要求。如果这种内心的活动发生蜕变，那么《童年》等“青春”作品主题即将离开它们在张伟内心得以成形的特殊感觉也将会是现实。因此我认为对张伟不能作某种“观念”的予料，任何预设都会人为的把他封闭在个人世界里。同样，我们也不能将他作为“现象”而仅仅停留在集体性现象的基础上来讨论。我们不能无视他的不断变化，哪怕是极为细微的。我们不能把他的作品简化成标签，甚至简化成符号。

　　我们要关注的是：《居家》、《夫妻》、《一家子》和《朋友》等作品对“现实”内容的回归将会是他未来的视觉角度还是偶然的触发。如果这种偶然的角度是真实的，那么我们现在就可以肯定：他的“现实”不可能是传统再现的，也不可能是现代表现的。因为他对“现实”的内容有着一种当下的理解，有着自我行动的认识。

　　黄家东

　　2014年4月23日广州

Qualitative Change in Youth

At the end of last year,from Zhang Wei, I got his new-printed picture album.Earnestly,I looked through the whole album when I came back home. In terms of the contents, most of the themes and painting styles were as usual. Firstly,something now was stirring within some contents beyond the theme of Youth.And it was rare to make some specific expressions for those works.Those works ,which were absorbed in detail descriptions, distinguished from the previous figures and environment.Those daily scenes were very familiar with us.However, it may be unusual for some common people ’s expectations ,and it was different from those paintings that were drawn in the entrenched studio.This time he lifted the painting tools to those friends and relatives home,exploring those ignorant realities with some expectations that would arise some inspiring moment. Nevertheless,it did not mean that he began to wander into these passed youth period .Instead, he tended to get closer his nature. 

In fact ,I always reckon that Zhang Wei’s works are not in the theme of Youth.Exactly, his so-called panting theme soon experienced qualitative change after the works of the period ,such as Boundlessness ,Good Good Study, Day Day Up,and the Mood for Love and so on. The qualitative change breaks down some traditional frame,cutting down the excessively presented painting language,which results in the object Youth that are no longer the concept concerning some feelings of direct sense objects, but it is the deductive consciousness,that is to say,he regards Youth as the indirect object,which can be perceived by us.

His Youth does not illustrate the vigor and beauty, confusion and puzzle,ignorance and impotence that we always comprehend;instead , the loneliness in We Are Together is occasionally revealed.Everyone is an integral record,which can be displayed in the works,such as The Last Tree,Graduate,In March and Childhood;however, there are no link among those objects.They are only recorded by painters.Actually,it is the dialogue between recorder and the one to be recorded, whose senses are  generally overlooked .Therefore,those senses are always full of blank space with colors.The reason is that either the painters enjoy some kind of working method,or the inner loneliness and the internally hidden extroversion of painters.The blank stretch in the background presents the deductive process of the painter for object perception, and it is a self-statement for his inner spirit.While it is not necessary to recite this sort of statement but for fulfilling the internal requirements of the heart.Providing that those inner activities have experienced qualitative change,then the theme of Youth,such as Childhood ,will disappear,and the special feelings formed in Zhang Wei’s internal world will come true.As a consequence,I believe that Zhang Wei cannot be regarded as some materials of “concept”, and it is supposed that he will be shut off in the personal world. Similarly, we should not also treat him as “atmosphere ”, and only discuss him on the basic of collective phenomenon. We cannot ignore his constant changes ,even those extremely subtle. We ought not to simplify his works into labels,even the symbol. 

We should pay attention to those works, for instance,At Home, Husband and Wife, The Family and Friends,the return of whose content will be his future visual perspectives or occasional trigger.If this occasional perspectives are true, then we can make sure that his “realities” are unable to the resurrection of tradition, and will not be represented the modern.It contributes to his current understanding of his “realities” with self - knowledge action.

Huang Jiadong

23rd April, 2014 in Guangzhou
 

作者：黄家东