個展
2012年 台北 台北新藝術博覽會2008年 北京 798藝術區 瑪斯德比藝術中心
2007年 北京 798藝術區 紅鼎 畫廊
群展
2013年 北京義大利法拉利百年之夜藝術展2013年 北京中華世紀壇首屆屈原《九歌.山鬼》主題藝術展
2013年 北京德易家生活藝術空間
2012年 北京2012798藝術節
2012年 台北、高雄寶勝畫廊
2010年 美國 巴塞爾-邁阿密藝術博覽會
2010年 韓國 Arma博物館 Pop Art 當代藝術展
2010年 紐約“中國演義”當代藝術展
2010年 北京798藝術區 第一屆798多媒體藝術節
2010年 北京宋莊藝術區 第六屆宋莊藝術節
2010年 內蒙古 燕柏格 第二屆燕柏格國際藝術節
2010年 北京北京航空航天大學美術館
2009年 北京 中國國際貿易中心GREEN 當代藝術展
2009年 內蒙古 燕柏格第一屆燕柏格國際藝術節
2009年 北京草場地藝術區CCD300畫廊
2009年 北京環鐵藝術區環鐵時代美術館
2009年 重慶首屆重慶國際藝術節
2008年 美國 巴塞爾-邁阿密藝術博覽會
2008年 紐約 亞洲藝術節
2008年 北京 亞洲當代藝術博物館
2008年 內蒙古 燕柏格第一屆木蘭圍場國際壁畫藝術節
2008年 北京798藝術區紅星 畫廊
2008年 北京 環鐵東壩藝術區后街藝術工廠
2007年 北京清華大學藝術中國 全國畫展
2007年 北京798藝術區 紅星 畫廊
2007年 北京觀音堂藝術區嘉維 畫廊
2007年 北京愛家國際收藏交易中心
2006年 北京 798藝術區 3818庫 畫廊
2006年 北京 798藝術區中方角 畫廊
2006年 北京觀音堂藝術區觀音堂美術館
2006年 北京通州藝術區北京時代美術館
2005年 北京 798藝術區3818庫 畫廊
2005年 北京 798藝術區仁《club》畫廊
2013Italy Ferrari One Hundred Nights Art Show, Beijing
2013The first Qu Yuan "Nine Songs . Fairy" theme art exhibition，China century altar, Beijing
2013De Yi home living art space, Beijing
2012 2012 798 Art Festival, Beijing
2012X-PowerGallery, Taiwan
2010 Art Basel - Miami Beach, America
2010 Pop Art Contemporary Art Exhibition, Arma Museum , South Korea
2010 Romance Of China Contemporary Art Exhibition, New York
2010 The First 798 Multimedia Art Festival , Beijing
2010 The SixthSong Zhuang Art Festival , Beijing
2010 Yan Berg International Arts Festival （2nd）,Inner MongoliaYan Gerber
2010 Beijing University of Aeronautics and Astronautics Art Gallery,Beijing
2009 GREEN art fair, China world trade center exhibition hall， Beijing
20092009The first session of the International Arts Festival Yan Berg, nner MongoliaYan Gerber
2009 CCD300 Art Gallery, Cao Chang Di Art Area, Beijing
2009 Circled iron Times Art Gallery, Circled iron Art Area, Beijing
2009 Chong QingInternational Art Festival, Chong Qing
2008 Art Basel - Miami Beach, America
2008 New York Asia Art Festival, New York
2008Magnolia paddock for the first mural of the International Arts Festival,Inner MongoliaYan Gerber
2008Asia contemporary art museum,Beijing
2008Red Star Art Gallery,798 International Art Area, Beijing
2008 Back street art factory ,Circled iron Dong Ba Art Area,Beijing
2008 Red Star Art Gallery,798 International Art Area, Beijing
2007Tsinghua University, 2007Art China National Exhibition，Beijing
2007 Red Star Art Gallery,798 International ArtArea, Beijing
2007 Ja Wei Art Gallery, Guan Yin TangArt Area, Beijing
2007Ai Jia International Art Centre, Beijing
20063818 Storehouse, 798 International Art Area, Beijing
2006 Guan Yin Tang Art Gallery, Guan Yin Tang Art Area,Beijing
2006 Beijing Times Art Gallery, Tongzhou Art Area, Beijing
2006 Zhong Fang Jiao Art Gallery, 798 International Art Area, Beijing
2005 3818 Storehouse, 798 International Art Area,Beijing
2005 Ren Club Gallery, 798 International Art Area, Beijing
2001 Hubei Art Academy Gallery, Wuhan
個人作品
九歌.山鬼 90cm X 3600cm 2013年 布面油畫動物系列
人物系列
紅色系動物
人物評價
感覺與想像的藝術夢影 ——彭麒油畫文/陳池瑜（ 清華大學美術學院教授博士生導師）
20世紀中國美術的一個最突出的現象，是油畫這個舶來藝術品種成為最重要的畫種之一，20世紀初的近30年中，中國新建了近20所美專或藝專，開始培養油畫學生，油畫風格經歷了寫實、象徵、古典等階段。在30年代初，在上海曾出現現代主義創作思潮，80年代中期，在中國再一次掀起現代主義繪畫思潮。90年代以來，青年畫家們開始追求個性化的表現方法，並開始吸收影像、電腦設計等手法，進行新的創作。90年代以來成長起來的年輕油畫家，感覺更加靈敏，思維方式更具有當代性。彭麒就是90年代成長起來的優秀青年畫家之一。
彭麒在美術學院本科和研究生階段，在素描訓練和造型能力方面打下了堅實的基礎，但他並不滿足於寫實畫風，而是在想像構形方面著力，他創作的頭像系列，以風格化的手法研究各種人物面部表現的種種神態，仿佛是一部社會眾生形態庫，這些作品預示著他要走一條屬於自己的個性化藝術道路。
彭麒是一位具有靈性和才華的畫家。他積極地表現著周圍的世界，但他並不是去複製這個世界的具體物象，而是用心靈去感覺，用思維去創造新的物象，也就是說，彭麒羞於將客觀世界中的人、動物及物象直接描繪。而是將其轉換成想像中的夢幻影像。
彭麒對小動物尤為關注，他說，一直以來，那些仿佛會說話的精靈總在腦海中跳舞。他似乎在用心靈和這些小精靈對話，他以捕捉到他們為創作的樂趣。他描繪的這些小精靈有貓、狗、猴、豬、蝴蝶等，生動而富有情趣。他用單色為背景，使動物的形象特徵更為強烈。這些小精靈有些憨厚、有些機智、有的被誇張變形、有的朦朧，每一張作品，都是一種生命的形式。他用兩年時間，畫了一百張小精靈，畫面閃爍的是一種生命力和童趣。這些小精靈成為彭麒創作的靈感來源，對生命和童稚的探詢正是他創作的原始動力。
彭麒在湖北求學時，受到楚文化浪漫主義藝術的薰陶，崇拜鳳鳥的楚先民創造了絢爛的漆藝術，漆藝的造型和色彩開啟了彭麒的藝術想像力。彭麒以鳳凰作為對象創作了一組想像豐富的作品，鳳鳥被意向化，畫面流光溢彩，創造了一個旋轉流離的想像世界，用筆的書寫性既使畫面流動自如，又帶有強烈的東方藝術精神特徵。鳳凰組畫，是吸收中國浪漫主義創作方法加以新的有益試驗的積極成果。
彭麒還對20世紀西方抽象主義進行研究，嘗試運用抽象手法進行新的創造。他的抽象畫有的具有表現性特徵，“隨手萬變，任心所成”是他神往的創作狀態。他將中國書法運筆的自由靈動和線條流轉融入畫中，使其抽象畫帶有書寫的特點。此外他將設計的某些因素引入抽象畫中，畫面和色彩富有裝飾與構成的形式美感。這些作品無疑是當代抽象畫新的收穫。
彭麒的創作手法是多樣的，這反映了當代青年畫家追求創作多樣體驗的願望。他的大幅精靈題材畫，運用蠕動轉曲的筆觸和多樣和諧的色彩，造成一種視幻影像效果，觀者可從畫面恍惚的色彩中感知貓、麒麟等形象意趣，在他的作品中視幻與隱喻統一於一體。《閃耀的身體》系列，人體被夢幻化、虛擬化，這些人體被舞動的彩帶所纏繞、所隱蔽。作者受《山海經》等中國古代神話所啟示，大膽創造出人身貓首的怪異形象。這組作品具有強烈的抽象表現特點，也是作者對人的身體本質的藝術哲學思考。人身的本體與遮蔽交織在一起不可分割，人與動物相異又相連。這組畫是新世紀青年畫家對人體本身思考與表現的富有意義的佳構。
彭麒在創作技法上，將傳統的油畫繪製方法同丙烯、電腦設計思維方式相結合，將油畫手繪質感和肌理與網路和數字藝術相結合，力求創造出富有時代特徵的新的繪畫樣式。在色彩表現上，追求虛擬、光電構成的色彩效果，以區別於以往繪畫中對自然狀態下色彩的摹寫。彭麒用這些方法為我們創造了富有個性特徵和風格樣式的繪畫作品。
彭麒還很年輕，他在油畫創作上極富潛力和前程！
The Illusive Shadow of the Art of Feeling and Imagination: Oil Paintings by Peng Qi
By Chen Chiyu
Professor , School of Fine Arts, Tsinghua University
A most prominent phenomenon for the 20th century Chinese fine arts is that the imported oil painting became one of the dominant forms in painting arts. During the first thirty years of the century, nearly twenty art schools were established and began to produce students majoring in oil painting. The painting style experienced different phases of realism, symbolism and classicism. In the middle of 1980s a trend of modernist thoughts surged. From the 1990s on the young generation of artists started to absorb methods from the computer imagery design for innovation, whose senses are more acute and ways of thinking more contemporary. Mr. Peng Qi is one of these brilliant new artists after the 1990s.
During Peng Qi’s undergraduate and postgraduate studies, a solid foundation was laid by himself regarding the sketch and profiling skills. However, he was not satisfied with the realist style but focused on imagination. His Portrait Series, like a storehouse for human morphs from all walks of life, studies people’s facial looks in stylized methods. These works of his forecasted his own personalized road of an artist.
Peng Qi is an intelligent and talented artist. He positively portrays the world around him not by mere duplicating but through feelings from the soul and through thinking. Putting it another way, he is shy at depicting people, animal and things of the material world directly, but would rather transform them into images in dreams and illusions.
He pays special attention to small animals. As he put it, these elves are as if always talking and dancing one’s mind. He seems to be talking to these little beings through his soul and experiencing great joy in capturing them in his compositions. The little animals portrayed by him include cats, dogs, monkeys, pigs and butterflies, lively and interesting. He uses one colour for the background in order to make the images of the animals more intense. Some of these little elves are simple and honest, some are intelligent, some exaggerated and transformed, some obscure. Each piece of these works is a form of life. He spent two years on 100 pieces of them, each one glaring with vitality and childlike delight. These little elves became a major source of innovation of Peng’s composition. The inquisition about life and innocence is the primeval force of his creation.
When pursuing studies in Hubei, Peng was deeply affected by the romantic art of the Chu culture. His artistic imagination was inspired by the lacquer painting profile and colour of the ancient Chu people who worshipped Phoenix and created extraordinary lacquer painting art. He later composed a series of works in the theme of Pheonix. The Pheonix bird is idealized by glaring colours in a vortical drifting world. The paintings are mobilized by the narrating brush, full of spiritual characteristics of oriental art. The Phoenix series is a positive achievement by applying methods in the Chinese Romanticism into new practice.
Beside, Peng also did research on the western abstractionism and is trying to make use of it in new compositions. To be able to draw multifariously by following his heart is the mood he dreams of for his composition. He dissolves the freedom and flexibility of lines in traditional Chinese calligraphy into his paintings, making them carry the character of calligraphy writing. Additionally, he introduced some elements in designing into the abstract paintings, giving the general appearance of the painting a decorative esthetics. Without any doubt these works of art must be among the new achievements of modern abstractionism.
His means of artistic creation is various, which reflects the wish possessed by contemporary young artists to have different experiences during artistic creation. His large productions of the elves theme create an effect of hallucination, through wriggling touch of brush and harmonious colours, in which the viewers vaguely perceive the images of cat, Qilin(a chimerical and auspicious animal in Chinese culture) and so on. In his works, visual hallucination is united with metaphor. In the Glaring Bodies series, human bodies are illusionary and virtualized by being intertwined and concealed by colourful stripes. Inspired by the ancient Chinese fairy tales such as Shan Hai Ching, the author boldly creates the weird image of man’s body with cat’s head. The abstract expression of this series reflects his thought on the essence of human body in terms of artistic philosophy. The human bodies are interwoven with coverings, neither of which is separable from the other. Man and animal are different and yet connected. The series forms a meaningful fine construction out of thoughts on human body and its expression by a young artist of the new millennium.
As for techniques, Peng combines traditional oil painting methods with ideas from acrylic, printing media and computer aided design arts, blending texture of oil painting with digital art, in order to produce a new type of painting with characters of a new era. In terms of colour expression, virtual and photoelectric effects are pursued so as to differ from copying colours in their natural state in the past of painting. With these methods, Peng creates a personal and stylized art of painting for us.
He is young, and full of potentials on his way of oil painting composition.
含蓄與張揚——關於彭麒的油畫“閃耀的身體”系列
文/熊新君 （中央美術學院教師 藝術策展人）
認識彭麒，其實已經有好幾年。但是，對彭麒作品的關注，卻是始於去歲冬末,在我策劃的“出走——從學院到草莽”的展覽中，他是受邀參展畫家之一。
生於70年代初的彭麒。成長於一個社會改革快速變幻的內陸城市——武漢。對他來說，成長的印記是中國社會改革中的種種變化：日益繁榮的經濟市場、日漸豐富的社會文化生活、日益拆改的街井巷道、日漸增多的城市各色人等。一個總體意識上的政治社會到自由消費社會的漸進過程，成為他成長過程的重要背景。彭麒的受教育階段是在有著深厚油畫脈承的湖北美院完成的。湖北美院油畫教學，遠有唐一禾先生的西洋畫教學體系；近有石沖等人的寫實繪畫基礎，以及郭正善、胡朝陽等人的自由繪畫語言。這些成為湖北美院油畫教學的重要脈承，也成為彭麒油畫學習的重要土壤。
彭麒現在的身份是北京印刷學院的一名美術教師，工作和生活在一個藝術文化蓬勃發展的都市——首都北京，同時又是一個相對獨立的高校校園。
從上個世紀90年代以來當代藝術的迅猛發展，不但使中國的當代藝術走出國門，而且使中國的當代藝術家和藝術產業具備了國際化的經驗和歷程，使得一大批的當代藝術家具有更加廣泛的訴求方式和多樣的表達語境。這種變化導致的一個重要的結果之一，便是學院派藝術的邊緣化趨勢和年輕的“學院藝術家”（青年教師）的泛市場化現象。這種泛市場化不僅僅只是停留在形式上，而是嚴重影響到“學院藝術家”們的繪畫語言以及表達方式上。使其自覺地游離於學院藝術的核心範疇。這個過程正是中國藝術受到市場影響的一個表象特徵。也是“70後”學院藝術家的共同特徵。彭麒正是在這種形式下自覺的進入到“體制”之中，成為無數個體中的一個。
彭麒的“閃耀的身體”系列，是在近幾年創作的一個主題性很強系列作品。
從作品中，我們不難看出，藝術家自身的成長經歷、學業背景以及視覺經驗在作品中留下的印跡。這種印跡正是成長經歷中的不穩定性、學習過程的專業性以及成年後經驗性，所形成的對於繪畫主題的適時性及繪畫語言形式的多重性。
從繪畫語言和風格來看，表現出藝術家對於學院派藝術的無限留念，以及對於自我寓言式的精神體驗的強烈追求。一方面，流露出相對保守的含蓄式學院風格。比喻對於人體的描繪方式，都是採用常見的學習經驗式的探索，一定程度上延續了學院派風格的繪畫模式——含蓄而規正。另一方面，藝術家通過對自身情感的體驗，而延伸出來的對於傳統繪畫語言的突破：對於畫面空間的解構性非真實處理，讓傳統的人物主題出現在夢幻般的外圍空間。從形式上是吸取中國書法的書寫的手感和筆勢及中國傳統繪畫的寫意技巧，充分地拓展了油畫繪畫語言的表現性。借用藝術家自己話來說：是試圖去表達流動的時光，絢爛的色彩，翻轉穿插的空間，隨意揮灑的書法筆勢，渲潤滲化的東方氣韻……
表現在畫面上，則是一股強烈的浪漫的情感張揚和行雲流水般的情感宣洩。這是對古典繪畫空間處理的一次當代性的詮釋。從而形成了一種內在語言的多重性表達方式。也或是一種內在語言的矛盾統一。這種矛盾統一，便是對於東方文化或學院派繪畫的一種含蓄式表達方式的理解，以及藝術家對自身經驗的情感表達的張揚。以此構成了這個系列作品的主題性表達——含蓄與張揚。
這種含蓄與張揚，同時也是和藝術家的自身性格是密不可分的。在生活中的彭麒，是一個自信、幽默卻又謙虛的人。在每一次的大小集會中，你會發現，他一直是那個說話最多、幽默最多的主角。但是一談起藝術話題，他卻是一個謙虛而含蓄的大男孩。他這種自信與含蓄的多重性格也必然會在他的作品中隱現，表現出來就是一種內在的矛盾與衝突。
從作品的內容和題材來看，表現出藝術家對於社會現實文化的敏感和憂慮，以及對於新鮮事物強烈的訴求望。
隨著消費社會經濟的不斷發展，特別是數字網路技術的不斷普及化。眾所周知，女性身體成為一個重要的市場時尚話題，甚至是一個巨大的產業。隨之而來的便是，一個女性身體被過度的展示和炫耀的社會文化現象。從而帶來嚴重的社會問題。隨意翻開雜誌或網頁，隨處可見充滿著誘惑的女性身體的暴露和展示。藝術家敏感的注意到這一點，以繪畫的形式展現出來，適時地表現出自己對於社會問題的憂慮，體現出藝術家深度的社會責任感。從另一個角度來看，也說明藝術家敏感地抓住了在這個時代女性身體張揚的社會狀態。從而成就了自己的創作主題 。進一步詮釋了他繪畫主題的張揚性特徵。另外，從作品表現的主體內容來看，不難看出藝術家對於新鮮事物的敏感和興趣。如，女性身體的造型、動態，無不顯露當代時尚文化元素。甚至吸取當今最為流行的動漫造型語言，以此作為自身繪畫語言對於傳統人體繪畫的一種突破和再創。也表現出數字網路對人類生存環境、思維方式、藝術創作的影響。也進一步驗證藝術家作品的時代性和當代性特徵。這是彭麒作品的重要時代標籤。
通過和彭麒的談話得知，“閃耀的身體”系列沒有完結，而是正在向著一個更加準確、純粹的語言形式在探討。儘可能的拓展油畫的繪畫可能性，使油畫這門傳統的繪畫形式，在新時代具有更加豐富的表現語言和空間。這也是彭麒今後繪畫研究的一個重要課題。從他現在的作品潛質，我們有理由相信：彭麒的藝術，在今後的社會條件下，能夠不但繼承傳統的文脈和淵源，並吸收新的社會文化信息而延伸和蛻變，達到自身繪畫風格的延續和豐富，出現更加完美的作品。
Reservedness and Outstandingness—On the “Flashing Body” series by Peng Qi
By Xiong Xin jun (Teacher , Central Arts Academy, Exhibition Manager)
Though having known Peng Qi for several years, I only started to pay attention to his works when he was invited to the exhibition “Exile, from Academy to Wilderness” managed by myself last winter.
Born in the early 1970s, Peng grew up in a rapidly changing society of an inland city—Wuhan. To him, his growing footprints may cover very bit of social reforms in China: ever increasingly prosperous market economy, ever richer social and cultural life, parts of city that has been pulled down and built up, increasing sundry metropolitans, etc. From an ideologically political society to a free consumer society, it is the background of his growth. Peng finished his education at Hubei Arts Academy, where there has been a deep tradition in oil painting. Education in oil painting there witnessed the western teaching system brought by Tang Yihe in the early ages, realistic painting basics by Shi Chong in recent time, and free painting language of Guo Zhengshan and Hu Chaoyang. These are the lineage of teaching in Hubei Arts Academy, and soil for Peng to study oil painting.
Peng Qi is presently an art teacher at Beijing Institute of Graphic Communications, living and working in a prospering capital city, Beijing, and a relatively independent college campus.
The swift development of contemporary art since the 1990s not only let Chinese art go out to the world, but also let Chinese artists and the art industry acquire international experiences and let a large group of artists gain access to a wider range of expression and multiple contexts. The change induced a significant consequence, that is, the tendency of marginalization of academy arts and the phenomenon of pan marketilization of young “academy artists” (young teachers). This pan marketilization not only maintains in superficial forms, but also seriously affects the painting language and expression of the “academy artists”. The process is a visible character of the Chinese art being affected by market and of the post 1970s academy artists. It is in such a situation that Peng walks into the “system” voluntarily, and becomes one of the numerous individuals.
The “Flashing Body” is a series of intense themes in Peng’s composition in the recent years.
It is easily seen that the artist’s growing experience, academic background and visual experience left marks in the works. These marks are the instability in the artist’s growth, professionalism of the study progress, adult experience, timeliness of the painting themes and multiple painting language forms.
In the aspect of painting language and style, the works show the artist’s nostalgia toward the academy art and strong pursuit for a self allegoric spiritual experience. On the one hand, they reveal a relatively conservative and reserved academy style. The way of depiction of body by allegory adopts the common study-experience styled exploration, extending to some extent the painting mode of academy style—reserved and formal. On the other hand, through his own emotional experience, the artist breaks through the traditional painting language: the deconstructed unreal handling of space, the appearance of traditional figure theme in a dreamy surrounding space. In form he absorbs the feel of Chinese calligraphy and freehand skill in the traditional Chinese painting, expanding the expression in oil painting language. In his own words, he is trying to convey the flowing time, the luscious colours, contorting and overlapping space, casual calligraphy momentum, oriental air of colour washing and seeping…
In the appearance of the paintings, there is a strong display of romantic sentiments and unhindered unbosoming of emotions. This is once again a contemporary interpretation of spatial arrangement of the classical painting, forming a multiple way of expression of inner language, and an inherent linguistic unified contradictions. The unified contradictions are an understanding of the way of expression by the oriental culture or the academy school painting, and a display of artist’s experience and emotion. Thus is constructed the thematic expression of the series—reservedness and outstandingness .
Such reservedness and outstandingness are in the meanwhile inseparable from the artist’s personality. In life, Peng is a confident, humorous and modest person. In every meeting, big or small, he is the centre of speech and humour. When art is discussed, he becomes a modest and reserved big boy. His dual character of confidence and reservedness makes appearance in his works, showing an inherent contradiction and conflict.
Judging from the content and subject matters, the artist’s sensitiveness and concern for the society’s realistic arts are displayed, as well as his intense interest toward new things.
As is known to us, with the development of economy and consumer society, especially the popularization of digital network technology, the female body has become a fashionable topic of market importance, even a huge industry. Consequently, the social and cultural phenomenon of undue exhibition of female body brings about serious problems. Opening magazines or web pages randomly, we see luring exposure and exhibition of female body. The artist noticed this point alertly, and poses timely his concern for this social problem in the form of painting. From another angle, it shows that the artist seizes the present social condition of emphasizing female body, thus constructing his theme of composition. From the major content of the works, the artist’s sensitiveness and interest for new things are easily seen. For example, in the profiling and motion of the female body, fashionable elements are employed everywhere. He even absorbed the most up to date cartoon language. In accepting these as his own painting language, he makes breakthrough in the traditional human body painting, and presents the influence of digital network over man’s existing environment, over way of thinking and over art composition, and furthermore, proves his work’s timeliness and contemporary quality. These are important time tags of Peng’s works.
In talks with him, I came to know that the “Flashing Body” series is not finished completely. It will be explored in a more accurate and purer linguistic form, searching possibilities in oil painting and giving this traditional form of painting richer formalistic language and space. This will be another important topic in Peng’s later painting research. Out of the potential quality of his paintings, we may well believe: under today’s social condition Peng Qi’s art will not only inherit tradition but will also absorb new social and cultural information. His painting style will be continued and enriched. He will produce more perfect pieces of works of art.
翩躚懸想——《閃耀的身體》作者自述
文/彭 麒
技術飛速發展的今天,網路覆蓋了我們的生活並影響了我們的思維，時空關係被徹底改變了。在目不暇接的資訊撲面而來時,每個個體呈現出不同以往的激越、欣喜、錯愕或是被誘惑的沉淪。由於數字網路的存在,有些狀況甚至觸動到某些政治、經濟、文化既有的格局。甚囂塵上的“各種門”事件在中國越發把偶像還原成活生生的肉身凡人。人們不再輕易相信某種恆定的價值與法則，越來越多的人正發揮著自己的想像詮釋著未來和自己的真理，釋放著生命的張力。來源於數字與網路的﹑虛擬的﹑真偽混雜的事件，成為當下人們生活方式的客觀反映。從某種意義上來說，虛擬生活就是客觀存在的現實生活。如果承認虛擬生活也是生活的話，充滿想像與虛擬的當代藝術就是這個時代的“現實主義”藝術。
傳統文化中令人乏味的寂寞與忍耐越來越受到大眾文化喧囂與浮華的衝擊與反叛。於是在思想與身體解放之後，出於對欲望泛濫帶來的浮躁與“膩”味的反思，人們不禁又懷念起某種節制與平和來。就好比大家吃多了生猛海鮮和大魚大肉後，又鍾情於那些精心製作的私家小菜來。我所創作的《閃耀的身體》系列正是基於此種出發點——直面欲望，重拾起傳統油畫技術去捕捉各種閃耀的虛擬幻象。也可以說是基於某種欲望的想像，對人性整合的描繪。
我們終歸會走出自我的藩籬，奔向一個離奇的想像世界。每個人都有詩人般的古典心腸與浪漫情懷，每個人都涌動著幼稚鮮活的生命力。古往今來，人們走過地老天荒，飽經各種悲情的礪煉後，對美麗的憧憬一直沒有消失。我們看到的“美麗”可能都是一種假象，只是海市蜃樓般的鏡像，但我們寧願相信它是真的，因為我們喜歡那些不知何時竄出來的可愛的思想精靈，或者僅僅是看見漂亮異性時大腦分泌內啡肽所帶來的愉悅的體驗。管它是“人工美女”還是漫畫主角，就像科學家給嬰兒看美女圖片他們會停止哭鬧仔細觀瞧一樣。
美與醜的定義會隨時代的不同而演進和豐富，而空前的想像力，卻是推動人類進步的原動力。這批作品試圖留給看畫的人一些想像空間：畫面上3D遊戲中常見的健康、性感、壯碩的女人體或許是個人心靈深處的第四性徵心理原型的體現；擬或是女英雄情結在大眾集體無意識中的投射。而充滿流行設計元素的數字特效與東方風味的裝飾紋樣讓人感到似曾相識，這些線條與紋樣來自於對於東方文化整體感覺，它不僅是中國的，還具有波斯﹑印度﹑日本等相類似的文化特點。這些作品似乎一直在敘說一組組矛盾：
陰柔VS陽剛；
抽象VS具象；
虛幻VS真實；
精神VS肉體；
存在VS未知；
坦露VS遮蔽；
曖昧VS直白；
現代VS傳統；
數字VS手繪；
極少VS極多。
這些二元關係可能是中國傳統的陰陽文化思維方式在油畫語言中的自然流露，也可能是喜歡用筷子的中國人在思維層面的形象體現。當然這些思辯被雲蒸霞蔚，寶氣氤氳的表象所淹沒。因為我們每個人都會呈現出多面性，既有形而下的，也有形而上的關注；每個藝術家當他拿起畫筆創作時就會有意識無意識的像個“觀念藝術家”一樣去表達。這種“觀念”可能有時偏向“邏輯”，有時可能偏向“太極”，還有可能偏向說不清楚的“無極”，或者僅僅只是本能的渲泄。
閃耀的眩光環繞在人體四周，是我們所處時代的無窮可能性的象徵。它是變幻的，運動的，無常的，神秘的，甚至是充滿誘惑的。那些由細碎的線狀和片狀組成的，充滿氣體或是液體的“隨手萬變，任心所成”的物質，是數字時代精神律動的產物。它把與之交相揮映並充滿欲望的，存在於三維空間的肉體有力地提升到另一個有趣而虛幻的時空中來。在這裡除了遼闊的想像外，或許還有某種少年般的對神秘事物的敬畏與好奇。希望這些物質可以形成些戲謔的會說話的生物，去接通我們現實而閉塞的神經，喚醒我們沉睡的原型和靈魂，走入我們被簡單粗暴的理性控制下的心靈，以及被欲望貪婪裹挾的身體。不為別的，只為那充滿離奇劇情般的內省與沉醉，擬或是片刻的逍遙與神遊。也許這些都僅僅只是一個絢麗好玩的白日夢或翩躚懸想。這都沒有關係，因為我們需要它。
壯麗或綺婉﹑迭盪或空靈﹑頓悟或冥想......縱橫穿梭的虛擬想像世界是我們生活中不可獲缺的一部分，它存在於我們呼吸的自由空氣中。不管有意或者無意，我們每個人都不會輕易將它拋棄，並願意隨時傾聽它的召喚,來往於時空的輾轉，徜徉於心靈的漂流，去觸碰那每個鮮活可愛的希望。
（ 2008年3月於北京 水晶城）
Dancing With Fantasy: authorial account of the Flashing Bodies
by/PengQi
With the development of technology and ramification of the internet affecting our life and thought, spatial temporal relationship has been changed thoroughly. In front of the dazzling information overload, every individual becomes excited, overjoyed, astonished or lured in unprecedented ways. Because of this digital network, the existing framework of politics, economy and culture are not spared either. The notorious ‘Edison Chen photo scandal’ helps bring down the idols with respect to their corporality. People no longer easily believe in permanent values and rules. They are increasingly elaborating the future and truth, relying on their own imagination and easing the tension of life. The digital, interneted, virtual and adulterated events have become a reflection of way of existence. In a sense, virtual life is real life. This admitted, the contemporary art which is filled up with imagination and virtuality is the realistic art of this age.
The unbearable tedium and tolerance in the traditional culture is increasingly facing shock and rebellion from the popular culture. Having freed their mind and body, people cannot help recollecting abnegation and tranquility after reflecting over the impatience caused by the surge ofdesire. It is comparable to the preference of simple home cooking after feasting too much rich food. The composition of the series of “The Flashing Body” is based upon this point, that is in the face of desire, utilizing techniques of traditional oil painting in order to capture various flashing illusions. It is also out of imagination of certain desire and depiction of integration of humanity.
In the end, we are about to free ourselves and embrace the bazaar and fantastic world. Everyone, on the poetic level, has both a classic and romantic inner world. From time immemorial, having experienced all the trials and hardship, mankind has never ceased to envisage the future with good faith. What is seen as beauty may be a false impression, a mirage. We prefer to believe it is true, because we like the cute spirits that come from nowhere, or because we are addicted to the pleasurable sensation caused by the releasing of endorphin in our brain, seeing a pretty one of the opposite sex. It is the same mechanism when scientists show pictures of beautiful women to babies, they stop crying.
The definition of beauty and ugliness evolves and gets enriched in time. Unprecedented imagination has been the prime mover of human progress. This batch of paintings tries to find some room for imagination: the healthy, sexy and robust female bodies commonly seen in 3D games may be a display of the psychological prototype buried deep in the human fourth sex characteristic, or a projection of the heroine complex in the unconscious of the mass. The special digital effect strewn with popular design elements and the decoration of oriental flavour creates a déjà vu. The lines and streaks come from an overall feeling about the oriental culture, not only from the Chinese culture, but from the Persian, Indian and Japanese. These works seem to be narrating group of binary oppositions:
Feminine VS Masculine
Abstract VS Substantial
Unreality VS Reality
Spirituality VS Corporeity
Existence VS the Unknown
Exposure VS Cover
Ambiguity VS Straightforwardness
Modernity VS Tradition
Digital VS Manual
Minority VS Majority
These oppositions may be found in the natural expression of traditional Chinese culture of yin and yang, a representation of the mentality of the chop-stick using Chinese. All the refutations are enshrouded by the cloudy phenomenon. We are all endowed with multiplicity, material aspects as well as metaphysical. Every artist delineates as ‘a conceptual artist’ consciously or unconsciously when he or she takes up the brush. Such ‘conceptuality’ sometimes tends to lend itself to ‘logic’, sometimes to ‘taichi’, to untenable ‘boundlessness’, or simply to the outlet of basic instinct.
Flashing light encircling the human body may be deemed a symbol of infinite probability of our time. It is ever changing, mobile, mutable, mysterious and full of temptation. The substance, formed by bits and pieces of line and flake, inflated with gas or liquid, and done with a natural hand and free spirit, are pretty much the product of the time of digitalization. It forcibly elevates the 3D bodies of desire up onto another continuum of interesting and illusory time and space. In there, except the vast imagination, there may be the youthful awe and curiosity toward the mysterious existence. It is hoped that the substance might forge amusing creatures capable of talking, which may connect up our isolated nerves and awake the prototype and soul deeply asleep, and may walk into our heart, tyrannically dominated by reason, and our body, abducted by desire and greed. It is for nothing but the bizarre and fictional self-awaking and self-intoxication, or momentary unfettered freedom and pure roaming of soul. Perhaps these are only a bright-coloured day dream or fantasy dancing swiftly. It does not matter, for we only have need of it.
The virtual and imaginative world has become part of our life. It has become the air we breathe. We will not discard it no matter intentionally or unintentionally. We will listen to its summoning, which travels in time, drifts with our soul and seeks to cherish every lively hope.
