邓箭今作品《弗洛伊德的冰柜》

　　到北京好些日子了，每天总是东奔西跑，朋友们来来往往，本想安下心来完成我在广州创作的手稿制作，但终究没未能实现，这种浑沌的状态可能是进入创作前期的前奏吧，举目凝视工作室的时候，突然，想到曾经很早答应过为张伟写点什么?直到今天才匆匆提笔，真耽搁朋友的事儿。

　　我认识的张伟是一位可信、友善、敏感、并且富有同情心的哥们儿，在生活的空间里，他会常常从他人的角度去理解你、接受你，他骨子里没有“张扬性”，有的是“忍耐性”，正因为他的“忍耐性”和敏感的气质，似乎奠定了他现在艺术上的认知能力和生活的状态。张伟的油画作品是以阳光、都市、青春作为主题，并而可以感受到他喃喃自语地诉说着流淌过的青春年华，同样，也是他内心生活中常常会掠过一道道儿的彩虹，这一瞬间的彩虹仍是他内心深处里充满生命的活力和青春的荡漾，这些内心的变化都使作品的画面流露出在期盼、等待之中的那种暖洋洋的快感。

　　关于以青春、都市为题材的如：电影、实验戏剧、美术、文学、摄影等艺术领域里早就有不少作品涉及过，但是由于每个人的经历文化取向、甚至包括个人身体状况的不同，所诉说的感受和情绪、角度、快慢都各有不同，像那些激情与迷茫，美丽与脆弱、欲望与焦虑、阳光与黑夜、甜蜜与苦楚、收敛与纵欲、嫉妒与宽容、健康与糟糕等等等等，这些词儿都包涵了对青春意义上解读，的确如此，每个人由于各种因素差异，同样对青春的理解会有不同的角度的阐述，张伟就是其中一位，他选择了比较直接、直率、阳光、向上、活泼这一面的青春话语作母题，在他早期油画创作里多少带有一点调侃、暖味的色彩，他那时候的关注点是对都市空间的脆弱和生命模糊感带来无奈的一种阐释，这些充满活力与激情的血肉与都市虚构奢华的生活掺混在一块儿，使人感到那么的惆怅和不知所措，那是他在艺术上应用了城市的某种特征和青春符号隐喻了浮华、虚弱都市下的一种青春膨胀。

　　在近期的作品中基本的关注点是一致的，不一样的就是他将前期的各种因素变得更直接、更单纯，油画语言的运用更加纯粹和自如，油画质材的运用、表述和主体形式了有机的结合，严格来说：他目前艺术语言是从凝重渐渐走向淡化和干净，我认为这种转化并不完全是单一的技术上的转变，而更多的是他自身的感受和生活的另一种领域空间里，受触动所带来的艺术状态的直接表现方式。

　　我说过张伟是一个很自尊很敏感的人，并且对新生的事儿尽量给予很大的宽容和接受，在现实中期盼的“好心情”的确很美丽、很脆弱、也很残酷，因为当你把生命中最珍贵、最重要甚至最易碎的东西搁置在你认为安全的地方，“好心情”尤如好的一份爱恨交集的一份礼物似儿的，珍藏着、保护着、担心着一样，看!张伟的油画作品总是洋溢着明媚的阳光、那些光鲜的少男少女们欢快地扑腾跳跃，但里面却是夹杂着甜蜜后的忧伤、快感后的焦虑，那些给烈日照耀下的婀娜多姿的身影和头顶上晴朗耀人的光环，而这种光环来得是那么的短暂又那么的无奈和惆怅，这时期他是以这种感官方式来表达一种激亢的情欲。

　　其实，“好心情”是张伟一幅作品的题目，我借用它是想说说张伟他对生活对春光无限、阳光灿烂下青春的一种理解和描述，写到这儿，我仿佛看见他带着敏感而温和的目光面向那流逝的青春岁月，目光里带有展望和无奈，从他的作品里是否在提醒着我们去找回那段已经离我们远去，或者是已经淡忘了的青春年华……，虽然，远去的青春时代永远不会从那边儿回来，但是如果我们仍然朝那个方向遥望她的身影，咛听她美妙的声音、吸闻她的芬香，我想“好心情”将会靠近你，贴近你。

　　2003年8月18日北京798厂

　　It has been some days, since I arrived Beijing. Everyday I am running around here and there doing something. Friends come and go. I have planed to keep my mind on my work, especially to finish the sketch that I have started in Guangzhou. But somehow it just could not be done. Probably the chaos is a prelude of the earlier stage of creation. When I look around the studio, it suddenly occurred to me that I have promised to write a comment for Zhang Wei. I sit down right away and start to write, with a sense of guilt that I have been holding it up for some time.

　　The Zhang Wei I know is a reliable, friendly, sensitive and sympathetic pal. In day to day living, he always tries to understand you and accept you from your angle. He has never been an arrogant guy. What he has is patience and restraint. It is the patience, restraint and his sensitivity that established the foundation of his faculty of reason and state of living. The subjects of his works are brightness, city life and youth. You can hear him murmuring the days of his youth, which has flowed away. In his heart a rainbow rises, the rainbow of the love for life, the rainbow of enjoying of youth. These internal changes reflect on his painting and become a warm sensation of pleasure that he feels while waiting and expecting.

　　Youth and city life are frequent subjects that has been talked about in many fields of art, like film, experiment drama, painting, literature, and photograph. Because of the difference of individual experiences and cultural orientation, even including physical state, the feelings and sentiments of the individual, his angle and speed of telling it is different. For example in the aspects of enthusiasm and confusion; beauty and weakness; desire and anxiety; brightness or darkness; sweetness or bitterness; restraint or indulgence; envy or tolerance; health or sickness… All these words can be an interpretation of youth. In deed, because of all kinds difference, everyone has a different understanding of youth. Zhang Wei has chose to tell his stories in a frank, bright, optimistic and active way. In his earlier works, the color is a little bit ironic and uncertain. At the time his attention was on the interpretation of fragility of cities and uncertain feelings of life. The mixture of vitality and enthusiasm of the individuals and the fake luxury of city life make us feel depressed and helpless. In order to express this, he uses some typical features of cities and of youth to symbolize the expansion of youth in the fake luxury and fragility of cities.

　　In his lately works, his attention remains the same. The difference is that the essential elements in his earlier works become more direct and pure. His painting language is more free and straight to the point. He combines the features of oil painting, expressing method and the subject very well together. I can say that his interpretation has come out of heaviness and gets into a simple and clear state. This is not only a technical change, but also a change in art accomplishment, which is influenced by a brand new understanding of himself and of life.

　　I have said that Zhang Wei is a self-respect and sensitive person. He tries to tolerate and accept all kinds of new things. To expecting a "good mood" in reality is in deed beautiful, but it is also very fragile and cruel. The most precious, important, but somehow fragile things in our life, we try to put it in a safe place. A "good mood" is like a precious gift. We treasure it, protect it and are afraid that it would be broken. Look, in his painting, it is permeated with a warm and bright atmosphere. Boys and girls are jumping for joy. But actually it is sorrow hiding behind sweetness, anxiety after pleasure. Look at those graceful shapes in sun, above their heads are shinning haloes. They will soon fade away. So sad! In this period he tries to express an extreme desire through this kind of visual impact.

　　Actually, "In Good Mood" is the title of one of Zhang Wei' s paintings. I have borrowed it in order to explain his comprehension on youth and the way that he expresses it in his paining. At this very moment, I thing of him, as if he was looking back to his youth, sensitively and tenderly. In his eyes there were both sadness and expectation. Perhaps his works try to remind us to look back and search that far away, maybe forgotten memory of our youth… Although the passed youth would not come back again, maybe we can still hear her lovely voice and smell her sweet fragrance, if we just look over in the direction that she leaves. I think, a "good mood" is coming close to you.

　　798 fabric, Beijing

　　18th, August, 2003