“过春天”——王明之个展

在这个被理性主义规训的时代，"过春天"展览像一个信号，提醒人们回到那个原始冲动与荒诞诗意的精神原乡。

王明之近两年专注于《爱、欲、情、谜》的系列创作，将鹤与女性形象结合，并通过构图、色彩、光和细节处理，营造出一幕幕充满叙事意境和黑色幽默的荒诞剧场。

在东方的文化语境中，鹤是高贵、纯洁和优雅的象征，是吉祥物，从流畅的曲线到黑、白、红三色，鹤的形象充满了生命的力量。王明之笔下的丹顶鹤身姿挺拔，气质忧郁又带着攻击性，在这里，鹤扮演了男性的角色，也是希腊神话《丽达与天鹅》中化身天鹅的宙斯。鹤冠的一抹红色犹如燃烧的欲望之火，在画布上跳跃、蔓延，它暗示着炽热与不可抑制的爱欲。他作品中的“丽达”则风情万种，她们的面部表情模糊不清，五官特征难辨，她们的身体不时地传递着“性”的信息。《爱、欲、情、谜》系列不仅仅描绘两性的纠葛，也是艺术家对爱欲相互依存又相互冲突的思考——爱欲是生命中最美好的情感体验之一，它能带给人们温暖、幸福和满足，但同时，爱欲也常伴随着痛苦、挣扎和迷茫，它既能给予生命以活力，也时常将人引入重重困境。

总之，王明之的作品弥漫着一种暧昧的气息，在这里，春天仿佛不是季节，而是一场无意识的狂欢。"过春天"不是对春天的歌颂，而是对人性的解析，它提醒我们，在文明的表象之下，永远涌动着原始的、不可抑制的欲望。这也是现代人的某种状态：我们既是欲望的主人，又是被欲望操控的囚徒。在这个被理性规训的世界里，我们是否还能直面世界的荒诞？对我们而言，也许欲望的另一面，是它永不可餍足。

In this age disciplined by rationalism, the "Embracing spring" exhibition emerges like a beacon, summoning people back to that spiritual homeland of primal impulses and absurd poetry.

Over the past two years, Wang Mingzhi has focused on his "Love, Desire, Sentiment, Enigma" series, merging crane imagery with feminine forms. Through masterful composition, color, light, and detailing, he constructs theatrical tableaus brimming with narrative tension and dark humor steeped in absurdity.

In the cultural context of the East, the crane symbolizes nobility, purity, and elegance-an auspicious emblem whose sinuous curves and trinity of black, white, and red hues radiate primal vitality. Wang Mingzhi’s red-crowned cranes stand with statuesque poise, their melancholic aura tinged with latent aggression. Here, the crane assumes a masculine role, mirroring Zeus’ swan metamorphosis from the Greek myth Leda and the Swan. The crimson crown atop their heads pulses like flames of unconsummated desire, leaping and spreading across the canvas to evoke eros’ scorching, irrepressible intensity. The "Leda" figures in his works exude enigmatic allure their faces blurred beyond recognition, their bodies articulating a lexicon of sexuality through suggestive contours. The Love, Desire, Sentiment, Enigma series transcends mere depictions of gendered entanglements, evolving into the artist’s meditation on love and lust’s paradoxical dance of interdependence and conflict. Eros, as both life’s most exquisite emotional zenith and its treacherous undertow, offers warmth and fulfillment yet equally binds souls to anguish and disorientation-a force that animates existence even as it ensnares.

Wang's works exude provocative ambiguity, rendering spring not as season but as unconscious revelry. "Embracing spring" dissects human nature rather than celebrating vernal rebirth, revealing the primordial desires surging beneath civilization's veneer. This mirrors modern humanity's dual existence: we are both architects of desire and its marionettes. In our rationally-ordered world, can we still confront existence's inherent absurdity? Perhaps desire's ultimate truth lies in its eternal insatiability-a hunger that defines as much as it devastates.