《念》這幅油畫，借用了剪刀這個載體以及其處於的狀態，用純粹的寫實手法和較為輕鬆的筆意，來表現“念”這個字所帶給我的心理感受。

畫面描繪的是一把擁有歲月痕跡的剪刀被挂起被浸泡，上下皆有作用力，受到束縛，處於中間卻又擁有一定的空間，微痛，微酸，憂患，冷寂而糾結。這樣的物象被轉換為“念”這個意象來讓觀眾體會其中微妙的心理效應。

“念”是人心情低落時的心理狀態，是一種思考,念想，也是一份思念，在佛學中又被視為一種記憶。跟著思念與念想而引申出來的便是憂患與恐懼。這與畫面所傳達的意境如出一轍。

畫面意在挖掘人的內心潛藏感受。在現代生活表面的富足與慾望背後人們的內心是脆弱而糾結的，心中常生唸唸。而這些唸唸往往是被用來逃避的。當我們直視它時，內心則泛起隱隱的痛。

這幅作品是我運用油畫語言來進行自我內心對話的一種探索，非常符合當今社會人群的心理需求。人們內心潛藏的唸唸，時常會作痛，只有把它揭開，才能過得更真實。

王怡

2011-11于北京清華大學

Missing

Missing, with the carrier of a pair of scissors and their state, presents the psychological feelings the word “missing” brings me in a purely realistic and relaxed style.

It portrays a pair of weathered scissors being hanged and soaked, being pulled from above and under. They are restricted, but still have some room, slightly suffering, aching, miserable, quiet, lonely and confused. The image was transformed into the concept of “missing” to inform audiences of the subtle psychological effect.

“Missing” appears when people feel down, is about thinking, about yearning, and is a memory in Buddhism. Misery and fear also extend from missing, which was quite consistent to the prospects in the painting.

The painting intends to tap the potential feelings of people. Behind the superficial affluence and desire of modern life, the souls of people are fragile and confused, with thoughts in which they tend to flee from reality. When people have to face it, they will have a dull ache in the heart.

The painting is an exploration of my inner dialogue in an oil painting language, which meets the psychological demand of society. It often aches when people have the underlying missing, and only by unveiling it can people live a truer life.

Wang Yi

November 2011, in Tsinghua University, Beijing