艺术具有虚构的本质，艺术更像是梦境，与现实隔着一层，用柏拉图的话说，是“理式”的影子的影子。而这种虚构使观者获得的是一种非具体的关系。艺术正是通过艺术家、观者与作品中虚拟的人物发生关系，在“我”与“他或她”的关系中寻求到某种释放。由于这个“他者”是虚拟的，因此，观者能恣意地表现自己的情感倾向与内心隐秘，无需在与他人的真实关系中掩饰自己。人们通过进入虚构的图像世界而得以疏离现实世界的沉重，艺术成为社会现实之外的一块飞地，一片人类可以栖息的乐园。

　　杨千的油画新作大都是人物，而且女性居多。他的画没有表现时代的宏大叙事，也没有现在前卫艺术圈中时髦的反讽、质疑、揭露等的“坏画儿”。他只是站在一个角落里，在一个很小的位置上去体会和把握只属于他眼中的现实世界。为了使幽微诡秘又复杂多变的内心世界和艺术家的人本之思维化和具象化，他调动了唯美的写实才情。他的女性人物无一例外都象是镜中之像，虚虚糊糊，影影绰绰，有着现实与梦幻频繁转换、亦真亦幻或真幻难辨的特质。尤其是在画面上有一种浴室氤氲的蒸腾和覆盖或者辐射在皮肤上的露滴。似乎他在强调视觉图像中的形式主义和抽象主义的趣味，即把艳丽的女性变成纯粹的形式感，并将这种形式感发挥到令人眩目和单纯唯美的程度。仿佛是有意与“唯丑”做对，又仿佛将塑造的“她们”置于经常是生活在自己的想象中，活在内在的虚设的生活里。纷繁诡秘的通感意象往往成了通向内隐多变的内心世界的一条隧道。也许，在杨千看来，钟情幻影是人类对未知和微妙要求的一种心理补偿，当人们沉迷于虚幻之时，现实世界真实的影响变得稀薄了，形成了一种如梦般的陶醉状态。梦是所有人生活中必不可少的调味品，梦境中的一切或令你如痴如醉，或令人惊心动魄，但都值得回味无穷。此外，他还借助种种具象化的人物形象，如镜中之像身后之影一样，互相映衬，互相观照，互相发现，共同烛照女性世界的幽微，言说掩藏在生存表象之下的生存之痛。

　　但我以为杨千并没有忽视或弱化其中的社会道德的评判。虽然这些形象带有夸张的虚拟化典型化处理，却恰恰地凸显出她们生动和荒诞的生存处境。而这种处境集中折射出了中国目前时尚的消费文化的一个侧面状态。她们在雾中行走，没有起点也没有终点。她们的现实化生活也同样如此，她们只有虚幻的雾中漂浮，似乎错愕而困惑地在寻觅着什么。在淳静的色彩背景中露出的五官与肢体，既表现出根植于人内心的欲望与渲泄这一矛盾的心理情结，又演绎了她们在生存过程中不断被异化的人生梦想。这些作品可以看出作者的用意是把画面中的一个关键性的行为形象同时赋予了内容和形式方面的最大效果。这种效果具有复杂的象征意义，把我们现今社会日益膨胀的物质消费的情景，通过这组女性的虚幻的形象符号化和现实化了，于是视觉的图像从非现实的层面进入到一个现实的层面，以此来表达他对当下现实社会的关注。

　　然而，在现实世界里，每个个体在其生命历程中都必然经历过生命不能承受之重，体验过内心与外部世界的激烈冲突，自由本真的鲜活生命受到它的销蚀。冲突的产物在杨千的艺术世界中往往被有形无形的镜子分隔开来，成为真实的、丰满的形象与被滤去了生命活力的虚幻影子的对立和映衬。对这种分离的审视实际上是人物自我感觉陌生、自我分裂的体现，无疑彰显了人物在现实生活中的陌生人身份和生命碎裂的痛苦，这是一种同形的幻像。还有一种异形的幻像。就生命本真来说，镜中之像与外部现实呈现的是被扭曲变形了的生命形态，是为他的形象虚设的一个放弃自我原则、妥协自我个性、饱尝挫折后不断失望而学会的一种异化的自己，是外部世界鼓励的另一种选择。互衬之下凸显出双方的残缺，生命的碎裂、生命异化之痛可感可触。从“我”的角度看她，用她的眼光看“我”，双方交流互动，互相发现，由此纷乱因而有了条理，分裂获得了统一，构成了是而非、非而是的奇妙叠印。可以说，杨千凭借敏锐的感觉和丰富的想像力，建构起了自己的话语、自己的符号和自己的镜像世界。

　　2006

　　Arts are fabricated in nature. Arts are more like dreaming behind the realty as Plato’s shadow of the shadow of the Idealistic form. What the appreciators feel is a kind of non-materialized relationship among artists, appreciators and the works, having a deep release form the relationship between ‘me’ and ‘her/him’. Since this her/him is virtualized, the appreciators don’t have to concern about how to hide himself/herself from the real relationship with others in the real world. He can express how he feels and explore his private freely. The burdens of the real world are therefore separated from the fabricated painting world as a flying land and paradise where we can take a rest.

　　Yang Qian ‘s paintings have been dealing with figures lately in which females are his main focus. In some way, we may say he is not drawing grand epics. Nor do we say that he has been seeking trendy advance arts to doubt those 'bad painting'. He is only standing in his own corner to experience his own real world, visualizing his understanding of inward complicated and strange feelings with humanity and his talent. His paintings about females without exception are the images of mirror, exposing and hiding ambiguously, real and unreal like dreaming. Especially the steam is around the bath room and waterdrops on the skin are emphasizing his externalism and abstraction. Turning a gaudy lady into pure form and further to which he puts aesthetic touch against 'ugliness'. Those 'shes' seem living in his imagination. They are as if a tunnel, reaches inner changing world. Perhaps for him, the unreal figures are a kind of required compensation for the unknown. For him, if people are involved into the unreal world with ecstasy, the real one seems getting thinner. Dream, as a matter of fact, is a sort of condiments that induces us into an enchanted situation in which infatuating feeling occurs. He lights a candle to see the deep inside his females, showing their pang of being existing beneath the superficial life shown.

　　However, in my opinion, he does not really ignore or weaken the social morality. Albeit those images are exaggeratedly virtualized or formed, the absurdity of their existence and situation are clearly expressed, reflecting the consumer's culture rapidly happens in China. A side view tells that they are walking in the mist, neither starting point nor ending is being there. They are looking for something confoundedly. Through their limbs and bodies contrasted by the background pure colors, the author is to express the deeply rooted desires and the urge of being released. Mr. Yang obviously tries to symbolize some perspectives of the real world to describe the ongoing materialized consumer's society as a whole. He is using these paintings of females that are created by his thought to show his concerns for the real society where he is living.

　　Yet each life in fact has been through unbearable burdens in the process and experienced the fierce conflict between the internal and external. The fresh freedom has been eroded. The product of the conflict is separated by the materialized mirror in Yang's art world. It turns out to be the real, fertile figures and the unreal image deprived of life for contrast. The figures in his paintings are ripped off, showing their pang and being unfamiliar in the real world. The images in mirrors are distorted lives that give up principles and compromise themselves. They learn these form disappointment. The changed self is other kind of choice made by the external world the disintegrated pain can been felt by us. From the perspective of 'I', in her eyes to see 'I', there is an interactive link and mutual conversation between the two and the ripped out two are united to indicate the real/unreal, right/wrong. We know that is specifically Yang's sharp and sensitive art language and symbolism in his world of the mirror.

　　2006

作者：冯博一