一直以来，邓箭今对绘画本身的兴趣远远超过了他对现实的关注。他的早期作品大多与梦境和色情有关，与偷窥和自恋有关。《有关目击者的梦境》、《夕阳为什么让我们如此美丽》，出现在画面浪漫的情色背后我们仍可以看到暴力和隐藏的血腥。2004年至2005年的作品中，在慵懒、低迷、烦躁和不安的情绪中，人物和时空的处理有了新的意味，虽然新表现主义的隐喻感成为他内心独白式的心理倾诉手法——利用当今的流行色彩和图像，又极力使它们摆脱“平面化”的叙述逻辑。在画面中出现了类似装饰画中的细腻柔媚线条和“清纯的人物造型”，显示出艺术家对绘画的平静心境。
　　摘自——郭晓彦《图像与叙事》2005年

　　Deng Jianjin’s interests in paintings are always far more than his concerns of reality. Most of his early works relate to eroticism, peep and narcissism. Behind the romantic eroticism of The Dream Records of Witness and Why Does Sunset Make Us So Beautiful, we still can see the violence and the hidden bloodiness. In the works from 2004 to 2005, in the lazy, depressed, irritable and uneasy emotions, the treatment of figures and time-space got new significance. However, the metaphor of neo-expressionism became the monologue-like means of his psychological pouring out, using today’s popular colors and images and striving to make them getting rid of the “plane” narrative logic. The decorative, refined and soft lines and the “pure figures” have emerged in his painting, which indicates the artist’s calm state towards painting.
　　------ From Deng Xiaoyan’s Image and Narrative, 2005

作者：郭晓彦