其实黄莺的画不用我来写，因为文字有它的局限，让文字去描绘光、旋律、色彩和声音显然是徒劳的，那为什么人们又期待出现关于绘画批评的文字？我知道，那是期待从理论上阐述绘画的深刻和归属。而我，却恰恰做不到这一点。
　　那么我要写什么呢？我要写的是，我在阅读黄莺的画之后的感受，和她延伸到画外的意境.简单地说，就是怎样把一些具体的形象组合在一起：无论是人物，还是花卉，或者是海，或者是好像是在无重力的空中飘浮的水。当然，这种组合不是在画静物画之前摆放一组静物，而是经过链接之后达到诗意。
　　黄莺的工作室在京城北部刚刚形成的酒场艺术区内，那里是和北京的798艺术区一样，是新锐艺术家们扎堆的地方。黄莺租下了一个若大的厂房空间，经过她自己的设计，空间保留了原来作为工业空间的震撼。
　　所谓工业空间就是要比人们生活的空间尺度大得多，凡是将这种空间改造成画廊或者是工作室的情况，大都是隔层或者隔断，谁都想更经济地使用空间，然而黄莺却不是。她最小限地进行改造，最大限地保留原始空间，但是她留下了灰白色斑迹，在这个几乎空旷的空间中，最灿烂的东西，则是她那些描绘着绽放的花，蔚蓝色夜空中落下的玫瑰色裸女，戴着面具相互倚隈的蓝色身体，在巨大的玫瑰色的花蕊中川流的少女……
　　黄莺的笔下，无论是人体还是花卉，都没有那种奇怪的变形，但又不是写实的描绘，而是经过精心提炼之后，把它归纳和放大之后的象征性造型。所谓象征性，就是通过具体的形象经过渲染的氛围，向更为深远的世界托思传情。
　　阳光透过西侧的高窗漫射进她的画室，从二层楼高的位置垂下来的帷幕，隔开了她的休闲和工作空间。黄莺的大幅作品的尺度和这个空间的尺度形成默契。室内所有的摆设和杂物都是经过精心挑选和摆放的，你可以看到画家和它所描绘的物体之间有一种静谧的关系。
　　黄莺虽然从十几岁就开始画画，但是真正把绘画作为职业的她，则是从2000年开始，然而值得拿出来的作品，又只有这四年期间的成品。我们可以把黄莺的作品分为三个阶段：一是2000年之前在中央美术学院和电影学院学习时期的习作，那些绘画作品已经可以看出她在油画上的才能，那是典型的学院派风格；第二个阶段是从2003-05年之间所花的女子和蜻蜓、太阳镜、百合花以及牡丹系列，特别是那些用夸张的牡丹掩盖着面容的一组作品，是从表现绘画向象征绘画的过渡，尤其是《盛开的牡丹》是这一时期的代表作。直立在水中的裸女，脸戴牡丹，诱惑吗？然而是端庄的出色。以后进入第三阶段，这个时期就是她现在迷恋的绘画，色彩大幅度升华，所谓的升华在这里显示为单纯的色调，或蓝，或玫瑰，同时出现明显的对称构图，不只是花卉，而且人物也成双。戏剧性的画面本身带有强烈的象征色彩。
　　我们不可能在黄莺的作品中回避性表现的问题，那是一种潜在的本能，无论是落下的动作，还是盛开牡丹，以及那些自恋式的倚隈，都有一种强烈的生命欲望的暗示。
　　黄莺说她常常梦见自己有下落的感觉，好了，我以为这是唯一的真实。她的作品让我们看出她对外界没有什么兴趣，只是在非现实的空间中漂流。
　　这些作品都是她绘画过程中的过程，这个过程会有怎样的变化？我们无法预测，如果说，有一种可能的话，那么就是在色调和造型上更加趋于单纯，而表现生命的欲望会更为强烈。
　　2007.8.25
　　Falling, Nestling, or Floating--An Essay On Huang Ying’s Painting
　　By Fang Zhengning
　　To be honest, words have their limitation and it is futile to describe light, tune, color and sound. People expect written critique about painting because they want a theoretical interpretation to gain some insight so as to position painting historically and psychologically, which I can not accomplish here.
　　Then what I am trying to write here? I want to record my personal feeling towards Huang Ying’s paintings; the resonance she generate in my mood. I want to find out how she put things together——people, flower, ocean, or floating weightless water. The arrangement of objects in her painting is not the usual way you do with still life. It is a poetics with hyperlinks.
　　Huang Ying’s studio located in the newly formed Wine Factory Art International District in northern-Beijing, where new forces in artistic creation formed a new community similar to that in 798 Art District. Ying has a huge factory space as her studio, self-designed to reserve the awe-generating effects from the enormous space from the industrial age.
　　As an industrial space it is much larger than the space people encounter in daily life. Normally artists who convert this kind of space into an art studio would divide it into smaller compartments to fully utilize the space, but that’s not the case with Ying. She did minimum renovation, keeping the original feel with unidentifiable whites and grays on the wall. The most vibrating objects inside this almost barren space are her paintings of blossoming flowers, falling nudes of purple color in blue night sky, nestling lovers of blue bodies under masks, maidens floating among gigantic stamens….
　　There is no distortion under Ying’s brushes, no matter bodies or floral, yet she is not describing the world realistically. A process of inducing and blowing-up has completed some symbolic modeling after extracting the very essence of reality,
with which concrete objects are rendered vehicles of emotions and thoughts reaching deep and far beyond this world.
　　Rays of sunlight shower down her studio from huge windows, and curtains of two-story high separate her working space and living area, and there are Ying’s large format works, in harmonic conversation with this space. Through the meticulous design and arrangement, even small miscellaneous items emit a tranquil feeling of intimate interaction between the artist and her subject/object.
　　Though started painting in her early teens, Ying’s full commitment as a painter was as late as 2000, and all works that she feels good enough to exhibit are from the past four years. We can roughly divide her creative works into three stages, pre-Y2K period when she was studying at CAFA and BFA, the academy-style of which shows much of her gift in painting; the 2003-2005 period when series of young women with dragon-fly, sunglasses, lily and peony blossom are created, her shift from representational to symbolic art has completed, the most representative one be the Blossoming Peony. It’s ambiguously beautiful that the peony-masked standing nude in water is both seducing and dignified. In her current third stage works, colors are obviously purified towards subliminal blue or purple, symmetrical compositions of floral and figures are all presented in pairs, and dramatic appearance is embedded with strong symbolic tendency.
　　It’s impossible to evade sexual (re)presentation in Ying’s paintings. That should be an instinct. No matter it’s the action of falling, blossoming of peony, or those nestling narcissism, they are all suggestive of intense desire.
　　Ying said that she always had falling feel in her dreams, and yes, that’s the only truth. Her works show no interests towards outside reality and she is only floating in an unreal space.
　　All these works are just the process of her painting, and who knows where they are leading to? It’s possible that her color would be simpler and the desire for life would be more intensely presented.

作者：方振宁