它的低鸣惊醒了卡夫卡

这张铜版画是我去年从乌兰巴托回来后用一年时间完成的，一共有三张分别是《我们在一起时是动物分开成了诗人》、《沉默打破了马厩的寂静》、《它的低鸣惊醒了卡夫卡》，三张都是巨幅铜版画，试图表达人与马那种交流瞬间的静默。 我做版画很慢，每张都做了三个多月，以往的作品再大或者在小我也一样做的很慢，我会给自己设定两个艺术准则，一个是难度(语言、材料)，一个是坦白，所以我总会怀疑有没有把自己整个的全部注入到我的作品中，也就在不断审视和否定自己中拉长了战线，我认为一艺术家的作品中的统一完整都是这样的，那就是当你走投无路时，一个人便会原形毕露，我的作品总在不断变换各种因素，如材料、技法、内容、甚至是时间、情绪，预先给自己一个限制，逼着自己压力压出一些反复出现的特征，这特征才是属于自己的艺术，这不是循规蹈矩也不是按图索骥，这是一个人在危急中的求生本能。 The copperplate etching is completed by me with one year after I came back from Ulan Bator. It has three pieces which are animals separate and become poets when we are together, silence breaks the tranquility of stable, and its murmur awakens kafka. All of them are huge copperplate etchings, trying to express the momentary silence of the communication between people and horse. I am slow in doing printmaking and I spent more than three months for each of them. I was also slow in completing previous works either larger or smaller. I will set two rules of art for myself. One is difficulty (language, material), the other is candor. So I always suspect whether I put the whole self into my works and thus extend battle line in the process of constantly reviewing and denying myself. I think the unification and completeness in the works of an artist is like this. When you have nowhere to go, you will betray yourself. My works always constantly transform a variety of factors like material, techniques, contents and even time and emotion. I will set a limit for myself in advance and force myself to create some recurring features. Those features are the art that belongs to me. It is neither following rules nor trying to locate something by following up a clue. It is life instinct of a person in danger.