废虚上的花火

陈蛮父：阿海绘画的精神内核也是南京的，或者说南方的。所谓南方是一个庞大的文化象征或隐喻，包有无限丰富的意象，但基调是伤感、颓废、消极和疼痛。虽然长期侨居北京，但阿海的艺术创作依旧属于南方叙事，唯美、颓废，虚无，表达了一个漂泊者对废墟般的精神家园的追忆和礼赞。代表性的阿海作品，往往有一朵跟其他人或物不成比例地巨大的白色花朵，令人心惊，像暗夜里的灯盏，占据了画面的重心，它像一个硕大的梦一样，不知来自哪里，也不知为谁开放。这些意象也许来自某些文本，也许它就是先验的。阿海流连于幽冥的历史深处，身体里埋藏的种子，在适当的时间次第开花，他凭借敏锐的触须感知世界并追求诗意的表达。当然，阿海的艺术理想不仅仅停留在对一个城市气质的还原上，他也热衷于制造冲突，制造静穆典雅与颓废死亡之间的张力，将自己复杂多面的人格投射到宣纸之上。还有他偏爱的蓝色，那一抹或明或暗的蓝，几乎就是催梦的灵药和招魂的幡，以及通往灵魂的窗户。他用卓越的技巧、诗意的直觉弥补了思想的贫困。

Chen Manfu: The spiritual core of A Hai's painting is also from Nanjing, or the South. The so-called South is a huge cultural symbol or metaphor, containing infinite rich images, but the keynote is sad, decadent, negative and painful. Although he has lived in Beijing for a long time, A Hai's artistic creation still belongs to southern narration, which is aesthetic, decadent and nihilistic, and expresses the memory and praise of a drifter to the ruins of the spiritual home. The representative works of A Hai often have a huge flower that is out of proportion to other people or things. It is frightening. Like the lamp in the dark night, it occupies the center of the picture. It is like a huge dream. It doesn't know where it comes from or for whom. These images may come from some texts, or they may be transcendental. A Hai lingered in the depths of the dim history. The seeds buried inside may blossom at the right time one after another. With his keen tentacles, he sensed the world and pursued poetic expression. Of course, A Hai's artistic ideal is not only to restore the temperament of a city, he is also keen to create conflicts, create the tension between quiet elegance and decadent death, and project his complex personality onto rice paper. Let's not forget his favorite color blue, the bright or dark blue, which is almost the elixir to induce dreams, the evocation banner and the window to the soul. He made up for the poverty of thought with excellent skills and poetic intuition.