Informal essay By / Zhang Xiaogang 

 To tell the truth, it is very difficult to let an artist comment on the work of another painter objectively, especially when the painter is concentrating on his creation, and the entire sensory system is actually closed, or even out of line. Reason。 But even so, some of the people's works will go through the crevices. Like you sit in a muggy afternoon, there is a cool breeze blowing through the window. That day, Chunhua sent some new works through WeChat to give me this feeling. Chunhua has an old soul, and the things that focus on the work seem to be around the lost life and emotion, whether it is the fallen tree or the abandoned bookshelf, the desperate accordion standing under the waterfall, the bed filled with pills that can't sleep, the sunset in the window is far away from the window. The back of history is still high. And so on, a series of seemingly familiar visual images have been thrown in front of us in a rough and absurd way. Before he knew him, he thought he was my contemporaries, as well as the art of the German department, or the same as a lonely poet in the deep soul of Nietzsche, Kerr keore, gawk and Bella, trying to be a wolf in the wilderness, but the poem he understood had been dismantled by the world. The seventh and the seventh. Perhaps he is too immersed in the absurd and anxious reality of the real experience, obsessed with the desire to build a virtual past and space in the illusion, trying to express it in a way of magic and polysemy, so that the whole value system is derailed by the serious time difference of the current popular taste. Perhaps he also wants to be a real Expressionist, like those who have inspired us at the top of the mountain. The teachers, too, are trying to reside in some of the fragmented values of his beliefs, to ignore the volatile and absurd chaotic world, and to concentrate on the dark bushes in the dusk and the lights that begin to shine. But the reality of the fall and the awkward embarrassment, let people's desire before the formation of hard faith has been heavily fallen on the cement before, like a broken plaster statue. In such a process of repeated whipping and re mending, he dislikes his own sentimentality and tries hard to build and rely on a certain rational power - so that he can not do "the elegant" or "wild dog", and at the most, he can only become a "decadent". If the soul is still meaningful today, but there is no place to put it, maybe the "decadent" is our true value of life itself. Believing this, it may not be difficult to understand Chunhua's stubborn and bigoted more than 10 years. However, to feel a person's art like this is merely a description in a literary sense, as if there is no substantive contact with the painting itself. Today, the strength of the art language must be better than the emotional catharsis, especially the "literary and artistic cavity", and the visual games and technical infatuation are becoming more and more adornment today. Perhaps painting has never been related to the progress of human civilization, but belongs to some kind of people's self righteous way of life? Where is the persistence and perseverance of Chunhua? Where is the value of his painting and the significance of the present? Look forward to seeing the original in the exhibition. I wish you all the best and hope that the old soul will always be there for you. 2018/06/12 three fifty-three in the morning