我在一个军人家庭长大，我从很小的时候就喜欢画画，但家人没有画画的。我最初描摹动画片里的人物，米老鼠、唐老鸭、孙悟空、变形金刚……因为只能在电视里看到形象，要画出来还是很难的，于是就每次看电视的时候就记下一点结构，但最终没有画出来一个完整的变形金刚。后来大批的不干胶贴画出现了，我可以很轻松的参照画出一个形象，非常兴奋。

第一次画素描是小学三年级的暑假兴趣班，我还能记得那个班里有几个同学画得真的很棒，我跟着他们画素描静物，跟他们画小人书《杨家将》里骑马打仗的人物。妈妈给我订了一本美术杂志，我自己会临摹一些杂志上的简单素描。上初中的时候我们的美术老师马兆祥老师很注重美术教育，打破了之前“美术课”不是“课”的传统。每周都会有美术作业，而且还很认真的给我们打分，我如鱼得水，很轻松就是年级里画得最好的几位同学之一。后来我们组成了一个课外美术小组，有一年的课外时间在学习绘画，算是对绘画有了一个初期的正式接触。再后来，我考上了我们当地的一家美术高中，然后四处奔波求学，对自己的要求也越来越高，几经波折，考上了中央美术学院。

我是个晚熟的人，一直到大学毕业，虽经历过一点点高考时复读的挫折，总体来讲生活还算顺利。在美院的学习过程中，经常会思考一些问题：画画是为了什么？到底有什么意义？特别是在不断解决一个又一个画面问题的时候，内心反而越发变的迷茫。毕业后我参加了工作，虽不能拿出整块时间来画画，从事的职业也跟绘画有关。工作的几年，我开始慢慢真正的了解自己所处的生存环境和社会，但仍难以“灵活变通的处理方式”来改变自己的处境。在这期间，我重新认识这个社会中人与人之间的关系，社会与我的关系，一个主流价值观的问题。我关注新闻，关注周围发生的事情，关注周围人的处境。在这期间，我的个体价值观与社会价值观（我所感觉到的）体系发生了很大的矛盾，但我改变不了社会，也不想改变自己。所以，我在不断做事情，想寻找一个载体（实现自我价值），未果。2010年，当我放弃工作回到专业艺术创作上来的时候有种释然。

我在中央美院版画系学习的时候，临摹研究了很多古典和印象大师的作品，汲取了许多养份。那一时期我初进中央美院版画系学做了大量的风景写生创作，并开始接触现代艺术。高年级进入了插图工作室，我画的是余华的文学作品《活着》，在美院展厅做了一个插图工作室三人展并被香港的藏家收藏，但是那个时候对艺术市场没有任何概念。我在大学期间，做了很多材料上的尝试，甚至树枝，面条，都用过。毕业创作是余华的《许三观卖血记》。开始是以石版的方式来做插图，做完两张以后因为种种原因改成了后来的素描稿加电脑处理合成成品，这种创作方式在当时是一种新的尝试。

进入全职创作时期，我选择的是油画材料，之所以选择它，是因为这种工具直接，有触摸感，有别于版画需要制版。这样我情感表达可以直接一些，

用色自由一些（当时是这么想的）。还有利于保存时间长久。但我是版画系毕业，平时训练的水性颜料居多，还不能完全掌握油画颜料的特性，所以有些想法有了，画不出我想要的效果。抛开技巧去做，最后的效果也不能令我满意。所以，我用一年的时间来解决油画技法问题，直到符合我“心手合一”的程度。

从后来看，我对自己作品发展的脉络设计是观念和技法并重，慢慢的技法成为辅助。初期《海的那边》和《来时的路上有云》都是有着很深的对技法的眷恋情结，尤其是《海的那边》我的出发点就是：我要画一组人物，要尝试一组人物的关系处理和形体穿插美感，其实是对自己处理画面能力发出挑战。这两张画分别用了六个月和四个月完成，与其说在搞创作，还不如说是在跟自己较劲。

我的创作最初选择了“火山灰云”类似于一种符号性的图示来表达我个体与环境产生的关系，这里面首先是人们精神层面的一种污染的状态，自然会出现一些具体的社会性问题。这么复杂的问题我是处理不了的，所以我只是想表达我作为社会的一个个体，我对自己生存状态的感受（只有《海的那边》处理成了一个很具体的医院里的场景），我几乎所有作品都是没有很具体环境的一种空间里的。。艺术的“精致”来源于现实生活的“粗糙”，但这两种东西又是有矛盾的。我自己建立起一个“空间”，这里有世俗的现实，又有我理想的家园，在这里，它们可以和睦相处。 我始终把自己当作一名“画画”的，既然我们做的工作是“画”画，那么“画什么”和“怎么画”同等重要。我坚持对绘画语言的追求，而且能从中获得快乐的。。很多人问我：“火山灰云”是你的创作理念吗？我想说，我把它看成是介入绘画创作的“切入点”，我想用我对当下生活的某种强烈的感受，试图从另外一个角度来发现某种新的“美学”，并使它成立。我对自己的艺术勾勒的理想是一种“倒叙”状态。先从美学角度介入，寻其源头时跟作者本人生活发生联系。

2012年在美院的一位老师带领下，我游历法国，意大利，荷兰，比利时等国家的各大艺术博物馆，在这里，老师给我们讲卢浮宫，讲奥赛，讲乌菲奇里的大师原作，受到震撼、受益非浅。但同时我又对这些经典的，成熟的，被万众瞩目的艺术保持一种警惕和距离，这是我对自己的要求。 到目前为止，我每一张作品都是精心创作，大部分作品刚刚完成时自己都是很满意的，符合我当时的心理表达要求。但每每有更新的创作构思时，便会对之前的作品产生“喜新厌旧”的感觉。我知道自己在这一阶段是不断进步的，只要能捕捉到新的信息或是对创作有新的理解，我不会停下脚步。《坠入尘网中》这幅作品是我在2013年创作的，喜欢这幅作品的人多一些（仅局限某时间段我所接触的人）而且还在南京国际美展获了奖，但我自己觉得后来的作品更好。在这个问题上我还是遵从自己的判断。

虽然我的作品画面一直在变化，我的创作有一个既定的观念，我把它当作切入点，这个切入点就是激发我创作，思维表达的源头。这个源头是不变的，在某个范畴当中，我不断的变换角度，变换道具，然后不断的做减法，尽量用少的语言把自己表达清楚，这样会更有力量。但这是一个过程，过程很重要，而且一定要理解走到这里很自然出现的一种现象，并不是杀鸡取卵，一步到位，直接用某些符号来强化自己的“形象”。我感觉我早晚会走到那里，但是探索的过程比结果更精彩，是我艺术生命依附的载体，我探索过程的作品会开口说话。我想表达的东西也由最初的直接，类似于呐喊的直白慢慢趋向隐晦，把自己的情绪隐到作品中，让人反思，而不是说教式的把自己的东西强加于观众，我想这是对创作理解的加深和生活阅历增长的必然结果。

Cry straightforward slowly tends to obscure

Wujian Biography

I grew up in a military family, I like drawing from an early age, but my family has no body like drawing. I initially depicted the cartoon characters, Mickey Mouse, Donald Duck, the Monkey King, transformers...Because they can only be seen in the television image, drawing out is very difficult, so every time when I was watching TV, I draw down a bit structure, but in the end I did not draw a complete transformers. Then it appeared a large number of cartoon adhesive stickers, I can easily draw an image with reference to the cartoon shown in adhesive stickers, which made me very excited.

The first sketch was draw during summer vacation interest class in grade three of primary school. I can still remember that there are a few students in our class who are really good at drawing. I followed them to draw sketch for still objects, and the character riding horse in war as painted in picture books like "Yang warrior". Mother booked a fine arts magazine for me, and I copied some simple sketches of journal. In junior high school time, our art teacher Ma Zhaoxiang focused on art education. He broke the tradition that "art" is not considered as "course". Every week he gave us art homework, and he was also very serious to rate scores for our homework. I like a fish to water; at that time I become easily one of the several best students who are good at drawing. Later we formed an after-school arts group, and we have a year of extracurricular time in learning drawing, which is the early period for us to formally drawing. Later, I was given an offer to our local high school of fine arts. I was looking for teachers to learn drawing, and I had higher requirements to myself on drawing. After several twists and turns, I was admitted to the central academy of fine arts.

I am a matured lately person, although I have experienced a little frustration when I failed the university entrance exam and learned one more year, until graduation from university, my overall life went well. During the learning period in the central academy of fine arts, I was often thinking some problems: what does the drawing is for? What's the meaning? Especially at the time when solving the problem with drawing one by one, the heart becomes more confused. After graduation I got a job. Although I can not take out the whole time to draw, my career is also related to painting. After working for a few years, I began to truly understand my own living environment and society, but it is still difficult to use "flexible approach" to change my situation. During the time, I recognized again that the relationship of the people in the society, the relationship between society and me, which is a problem of mainstream values. I focused on news, paid attention to what happened around, and paid attention to people around you. During this time, my inpidual values and social values (I feel) system had a lot of contradictions, but I can't change the society, I also don't want to change myself. So, I was constantly doing things, and I want to find a carrier (to realize self-worth), but it was not fulfilled. In 2010, when I gave up work and came back to professional artistic creation, I have a relief feeling.

When I was studying printmaking in the China Central Academy of Fine Arts, I imitated and investigated many classical and impression master's works, so I learned a lot of nutrients. At the beginning of that period when I was studying printmaking in the China Central Academy of Fine Arts, I learned to do a lot of scenery painting creation, and began to contact with modern art. When I was senior, I entered the illustrations studios, what I draw is that Yu Hua's literary works "Alive". It was exhibited in the beautiful courtyard hall in a illustrations studio with three authors, and it was collected by collectors in Hong Kong. However, there is no any concept in art market at that time. When I was in university, I tried a lot of materials, even like branches and noodles are used. Graduation creation is Yu Hua’s "Chronicle of a Blood Merchant ". Initially I took the form of lithographer for illustration, but after making two pages done, due to a variety of reasons, I later used sketches and computer in processing of synthetic product, and this creation method is a new attempt at the time.

During my full-time creation period, I chose the oil painting materials, and the reason why I chose it is that this is direct tool, and it has a sense of touch, which is different from the printmaking that need to make plate. So my emotions can be expressed directly, and I had some free for using color (this is what I thought at that time). It can be kept for quite a longer time. But I graduated from printmaking, so I had more training on water-based painting materials, but I can't fully grasp the characteristics of the oil paints. Therefore, I often already had so some ideas, but I can not draw out the effect that I wanted. Except the skills for doing it, the final effect can't satisfy me. So I use a year's time to solve the problem of oil painting techniques, until it can meet "what I thought can be exactly draw by my hand.”

When I look back to that time, what the principal of my design focuses on both the concept and techniques, and techniques slowly becomes as auxiliary. The two initial works like “at the other side of the sea "and " there is cloud on the coming road" has very deep nostalgic complex for techniques, especially for “at the other side of the sea” where my starting point was: I want to draw a set of characters, I want to try to deal with and form a set of character's relationship with aesthetic feeling, which was actually the challenge to my own ability to deal with images. The two paintings were completed within six months and four months separately, so it can be considered as doing something in fighting with myself rather than creation.

My first chose the "volcanic ash cloud" similar to a kind of symbolic representation to express my inpidual's relationship with the environment. It also means that there is a kind of pollution status in people mental state, so it presents some specific social problems. I can't deal with such a complicated problem, so I just want to express myself as a social inpidual, and what I feel about my living conditions (only “ at the other side of the sea” became a very specific scenario in the hospital”, almost all of my works are not very specific in a space environment. "Refinement" of art is derived from "rough" in the real life, but these two things is contradictory. I set up a "space", there is not only secular reality, but also my ideal home, so they can get along well with each other here.

I always think of myself as a "painting", since our work is "drawing” painting, then "what to draw" and "how to draw" are equally important. I insist on the pursuit of painting language, but also I can gain happiness. A lot of people ask me: "the volcanic ash cloud" is your creation concept? I want to say, I consider it as a step of "starting point" in painting creation. I want to use my some strong feelings for the present life, and I try some new way to find "Aesthetics" by another angle, and I want to make it come true. I draw the outline of the ideal of art is a state of "flashbacks". Firstly the intervention from the aesthetic angle, and then to find the source comes in contact with the author's own life.

Under the leading of a teacher of the academy in 2012, I traveled to France, Italy, the Netherlands, Belgium and other countries of the major art museum, where the teacher told us the Louvre, Orsay, and the Philippines’ original master, I feel shock, and benefited a lot. But at the same time, I maintain a vigilant and distance again to these classic, matured, and be the much-anticipated art, which is my own request to myself.

So far, I have been careful to create each piece of work. I was satisfied with most of my completed works, which can meet the demands of my psychological expression at that time. But every time when I have to update the creation idea, I had the "discard" feeling toward the works completed before. I know that I am always in progressive at this stage, as long as I can capture the new information or to create a new understanding, I will not stop to do that. This work "Falling in dust net" was created by me in 2013, and most of people prefer this work (this is limited to the persons that I contacted only in a certain period of time) and I still got a prize in the Nanjing international arts exhibition, but I think the works created after that are better. I still follow my own judgment on this issue.

Although the pictures of my works are always changing, I have a predetermined idea, which I treat as a breakthrough point, and the breakthrough point is to inspire my creation, and also the source of thinking mode expression. The source remains unchanged, in a certain category, I unceasing transformation point of view, transform props, and constantly do subtraction. Finally I use less language as far as possible to express myself clearly, so it will be more powerful. But it is a process, the process is very important, and it is considered as very natural a phenomenon appeared when you just walk here. Instead of this, it is not the one pace reaching the designated position, and it is not to use some symbols directly to strengthen my "image". I feel I will go there finally, but the exploration is more wonderful than the outcome, which is the carrier of my artistic life attachment, so my works can speak by themselves. Therefore, what I want to express has changed from the way that directly expression from the original that is similar to cry of blunt tends to obscure slowly. That is, I hide my emotions into works, let people reflect, rather than the moralistic impose myself to the audience. I think that this is the inevitable result after the deepening understanding of created works and the life experience growth.