| 馮良鴻
在紐約，隨處可見塗鴉，我想起小時候練習毛筆字的快感，這種差異引發了我對偶發性的實踐。
我希望繪畫是一種不受約束、自由表達並使觀看得到釋放的表現形式，這需要全身心投入，捕捉每一次無意中産生的繪畫效果，使即興的細節可能成為繪畫語言的依據和敘事對象，成為由“視網膜”觀照後的冥想元素。
繪畫是另一種形式的思考。我不得不繞開原有的知識與觀念，進入自我的未知領域。這過程活生生、直截了當。我必須去發現並回應各種可能産生的疑問，使表達純粹。其中並不是個人一意孤行的主觀意願，而是心、手與畫面的瞬息變遷、交互滲透的因果關係。由此，我不願刻意追求某種樣式，寧可呈現每一繪畫細節，真實、自然和無意義，就象事物呈現它本來的面目。
2008.11.7 Graffiti is everywhere in New York, it reminds me of the joys of painting brush characters as a child. This kind of diversity inspired my practice with spontaneity.
I wish for painting to be a manifestation of a lack of restrictions, freedom of expression and can provide a feeling of release for viewers. This requires the complete personal absorption, and seizing each unexpectedly produced result in a painting, letting the impromptu details might possibility become the narrative that the language of painting relies on, become the elements we muse upon after they are registered by our retina.
Painting is a reflection of another form. I must avoid my pre-existing knowledge and constructs, and enter my personal terra incognita. This process is living, straightforward. I have to discover and respond to a variety of possible doubts, and express purity. Among these is not insisting on my personal subjective desires, but are the causal relationship of the evanescent changes in hands, heart and the canvas, and their mutually permeation. Therefore, I am unwilling to painstakingly pursue one style, I would rather present each detail of a painting, reality, nature and insignificance, just like an object presents its true face.
Feng Lianghong November 7, 2008
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