此次展览的作品，是曾经在“关系”中有意“经验/实验”的“绝对”，抑或在“绝对”的“经验/实验”中无意述说的“关系”。然而，最终的内容和结构，永远都不会在“图示”或“语言”里，任何神化、固化地自圆其说，都是心不在焉或心太在焉。随着它(最后的内容和结构)的越发清晰，“表达”也会因无所不在而无所“确在”：“多”与 “少”、“明晰”与“含混”、“述说”与“沉默”、“经验”与“先验”等，也就越发奇妙。所有“关系”，皆可能在紧张的执拗或无意的疏离中“惚突反卷”，无由地通达隐秘却开放的完美整一!

　　展览的作品包含平面绘画和空间装置两部分，选取了十几年创作中趋向“几何”形式的作品。从这些局部的“研究”和“选择”中，想到一些有关创作和展示的基本问题：

　　1、从形式到无形式，以至无所谓形式，作品属性是否涉及“指认”?(有关艺术史逻辑)

　　2、从空间到平面，再回到空间，空间和平面存在错位借用?(逃离维度的“形”)

　　3、从散焦到聚焦，关注方式能否进化至无焦?(视觉生理史推论)

　　4、从情绪到拒绝情绪，概念的超越在于旁观?(深度与精度的“感觉”)

　　5、从“多”到“一”，再从“一”到“多”，“本体”无关数与量?(遭遇“极少”、“极多”)

　　6、从“技”至“道”，“道”的显现如何生效?(“专业”和“非专业”的焦虑)

　　7、从无序到有序，“隐序”才是优质的呈示?(“控制”悖论)

　　Lei Hong Artist's Statement

　　The works in the exhibition are the“absolute”that were intentional“experience/ experiment”in the“relations”，or “relations”that were unintentional expressions in the“absolute”“experience/ experiment”.However，the final content and structure would never be in the“image”or“language”.Any statement of deification or crystallisation is either inattentive，or too attentive.As it (final content and structure) gets clearer，the presence of“expression”is seemingly everywhere but in fact no where：“more”and“less”，“apparent”and“vague”，“to narrate”or“to mute”，“a posteriori”or“a priori”，and all relations alike will do wonders.The relations would possibly”rebound“in the tensional stubborn or unintentional alienation，and eventually secretly yet openly lead to perfect wholeness!

　　This exhibition presents my two-dimension and three-dimension works，with a special selection of the works created in the past decade，which all resemble geometric forms.Among the “study” and “selection”，the exhibition also raises fundamental questions concerning the creation and presentation of contemporary art.

　　1.From form to the formless and then to an unimportance of form: whether the properties of a work are related to any “allusion”?(In terms of logics behind the history of art)

　　2.From three-dimension to two-dimension and then returning to three-dimension，is there any dislocation or juxtaposition between the two forms of art? (Ignoring the form of dimensions)

　　3.From defocus to focus，could the way of attention develop to “non-focus”? (Interpretation from history of visual physiology)

　　4.From being emotional to refusing to be emotional，is the“transcendental”defined by the observer?(The“feel”of depth and precision)

　　5.From“multiple”to“single”，and then from“single”going to“multiple”，the “noumenon”is not related to the quality nor the quantity?(Encountering “minimalism”and“maximalism”)

　　6.From the“skill”to“method”，how possible could the“method”effectually presented? (The dysphoria of“professional”and“amateur”)

　　7.From disorder to in order，is“implicate order”the best presentation? (The paradox of“control”)