我想做的是把事物扭曲的遠(yuǎn)遠(yuǎn)超出外表，在扭曲中把它恢復(fù)到外表的記錄中。當(dāng)數(shù)個(gè)形體出現(xiàn)在畫(huà)面中，或者說(shuō)只要同一張畫(huà)布上出現(xiàn)了幾個(gè)人物，那一刻已經(jīng)開(kāi)始講故事了，而乏味將伴隨著故事的詳述而來(lái)。 What I want to do is to distort things far beyond the appearance, and restore it to the record of the appearance in the distortion. When several shapes appear in the picture, or as long as several characters appear on the same canvas, the story has begun to be told at that moment, and boredom will come with the details of the story.
畫(huà)本身通常沒(méi)有講故事的聲音大，因?yàn)槲覀兊拇_一次次地處于一個(gè)狀態(tài)中，這是極端原始的狀態(tài)，影像間的故事述說(shuō)行為讓我們無(wú)法抵消。 The painting itself is usually not as loud as telling stories, because we are indeed in a state again and again, which is an extremely primitive state. The story telling behavior between images makes us unable to offset.我一直希望把事情盡可能地直接和粗暴地放在一邊，如果一件事情直接發(fā)生，人們會(huì)覺(jué)得這很可怕。I've always wanted to put things aside as directly and rudely as possible. If something happens directly, people will think it's terrible.我認(rèn)為破壞性的批評(píng)，尤其是其他藝術(shù)家的批評(píng)，無(wú)疑是最有益的批評(píng)。 I think destructive criticism, especially the criticism of other artists, is undoubtedly the most useful criticism.
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