从画面关注的经验内容上看，广州画家邓箭今的作品与北方流行的新生代艺术十分接近。他将作品的精神指向确定在与个性生存状态、生活现实有关的情境中，作品中一再出现的画家本人、朋友和家庭成员的肖像更使这种关注染上了浓郁的自传色彩。但很明显，他对生活的态度不是纯感官性的、自闭的、消极的或泼皮式的，甚至也不是中性化的，至少，按照作者自己的说法，这种关注的动机是为了“重新提出人与现实社会的感应问题和新的反思对象”，为了展示一种“战胜孤独、战胜消极、战胜浮躁”的理想化的东西（《邓箭今自述》），我想，正是在这个思维起点上，他与那些平铺直叙、图解化、矫饰的逃避式地对待生活的新生代艺术保持了应有的距离。在《天台》、《逍遥》这类作品中我们能够看到这样一些矛盾因素：作者本人具有典型的新生代状态的肖像被置于一种德尔沃（Delvaux）式的超现实的空间结构中，在低调、沉郁的情绪中，令人轻松、愉悦的女性形象不仅抑制了无聊情绪的空洞蔓延，而且使这种情绪提升为一种理想化的、具有内省特征的幽默感，正是这种现实与超现实，感官和理性，具象性与抽象性的矛盾状态给作品提示了一种视觉悬念和人文寓意。与新生代画家不同，他似乎不愿意认同无聊、沉缅于无聊、甚至欣赏无聊，他提示出无聊，但却谨慎地希望为这种无法回避的无聊找到一种可供解释的理性逻辑。在更近一点的作品中，作者开始有意识地将个人经验与某种特殊的社区文化结合起来，这当然不是指作品中日益增多的人数。在《看飞机》、《过客》、《做个快乐人》、《欢乐四季》这类作品中，人际联系更多的是自然、和谐和人文性的，而不是漠然、病态和异化性的，显然，他的艺术虽然不具有文化批判的品质，但却是真实的、健康的和理想化的。1994年
Beyond The New GenerationBy HuangzhuanTo the content aspect the image concerns, Guangzhou based artist, Deng Jianjin’s works are close to the New Generation Art popular in the north China. The spirit of his works is set in the situation which is related to the personal living state and life reality. The repeated emergence of the painter himself, his friends and family in his works adds rich colors of autobiography to this concern.  However, obviously, his attitude to life is not purely sensory, autistic, negative or cynical, even not neutral. At least, according to the painter’s statement, the motivation of the concern is “re-propose the issue of interaction between people and society and the new objective for reflection”, to show an ideal of “overcome loneliness, overcome negative, overcome impetuousness.” (Deng Jianjin’s Readme). I think basing on this starting point for thinking, he keeps the proper distance with the new generation art whose attitude to life is straightforward, graphic, artificial and evasive. In such works, “Rooftop” and “Peripatetic”, we can see these contradictions- the author’s image typically with the state of new generation is set in an ultra-realistic spatial structure like Delvaux’s style, in the low-keyed and gloomy mood, the easy and pleasant female image not only restrains the spread of the bored feeling, but also enhances the emotion to be an ideal and introspective humor. It’s just this contradiction of reality and surrealism, sense and reason, as well as representationalism and abstractism supposes a visual suspense and humanism significance. Different with the new generation artists, he seems unwilling to agree with boredom, indulge in boredom, or enjoy boredom. He suggests boredom, but he cautiously hopes to find a reasonable logic for this unavoidable boredom. More recently, he begins to combine consciously personal experience and particular community culture. Of course, it doesn’t mean the increasing number of people emerging in his works. In the works such as Look at the Aircraft, Guest, To Be A Happy Person, and Happy Four Seasons, the personal relationship is natural, harmonious and humanism rather than indifferent, sick or alienated. Obviously, although his art is not of the quality of cultural criticism, it’s real, healthy and idealized. 1994