自述:

“恢”是内⼼心和灰骸，“铯”是经济与⾊色彩。 我将⼀一些燃烧过后的灰烬、⼲干枯的叶⼦子、沸腾过后的咖啡残渣等⼀一些看似失去意义的

东⻄西收集起来做成作品的基底，经过打磨和古⽼老老的钱币联系在⼀一起，反复绘画、形成⼀一种灰

蒙的表现形式。古钱币是古代经济、⽂文化的象征，⻅见证了了古今中外历代君王的兴衰成败。这

些看似有却⽆无的东⻄西、和画⾯面如出⼀一辙。

   恢铯系列列是⻓长期实验的结果，映射了了物体从有到⽆无，⾛走向消亡的意识形态;⼈人从⽆无到

有逃脱不不了了物质世界的束缚。也是我对艺术其他可能性的探索、它不不必再与美有关，可是却

更更注重于理理念，正如画⾯面的灰蒙也是对⾃自我意识的表达、就像这个世界、我们彼此相望却⼜又

看不不清彼此。

  艺术的发展离不不开⽂文化，⽽而⽂文化需要经济推动，三者之间微妙关系不不⾔言⽽而喻。

“Ashing” is the heart and the skeleton, "Color" is the economy and color.

I will some after burning the ashes, withered leaves, after boiling coffee residue collected some seemingly meaningless things such as make a basal, polished and ancient COINS together, repeated painting form, form a kind of gray. Ancient COINS were the symbol of ancient economy and culture, and witnessed the rise and fall of ancient and modern Kings. These seemingly empty things are the same as the picture. The cesium series is the result of the long-term experiment, which reflects the ideology of the object from being to nothing and disappearing. Man cannot escape from the bondage of the material world from nothing. I also explore other possibilities in art, it no longer is associated with beauty, but more focus on the concept, as image gray is the expression of self- consciousness in, like this world, we each other each other but can't see each other again. The development of art is inseparable from culture, while culture needs economic promotion, and the subtle relationship between the three is self- evident.