王璜生的实验性艺术创作，针对的是个人艺术诗意与现实处境的无限冲突，而他在这一扣连的依存关系里，通过多媒介的方式寻求着一种视觉转化和间离效果。线与线的环绕、交叉、纠缠，没有边际；对新闻报纸的介入式遮蔽，形成的互为图像是对媒体承载的意识形态的颠覆与消解；在有形与无形、虚与实，以及光与影的碎片化结构中，成为个人对现实生存实在属性的感触，如同在他这些作品之间的临界点上，游移与如影随形的漂浮一般。由此构成了这次以“无边”为主题，黑、白、灰三个展示空间并置，和以“隔空、介入、居间”三个单元的主题性展览。这是王璜生继2012年在北京“后雅兴”和2013年在德国“游·象”展览之后的又一次大型个展。这既是他在这一阶段创作的集中呈现，也意味着其创作处于实验的探索过程，以及对艺术态度始终处于“无边”的抽离与延伸之中。
王璜生从2009年开始创作的“线索系列”到2011年的“游·象系列”作品，好像不能简单地从他以往作品的具象到抽象变化来进行评介，而是要以他面对复杂的生存境遇方面给予阐释。在我看来，尽管王璜生始终对水墨艺术有着难以割舍的情结，但这次展览的一些作品，并非仅仅专注于水墨的艺术语言
方式，而是通过缠绕的线体表露一种内心隐秘性的倾诉，从而使画面的整体结构是一种多声部的合奏式基调，或者说是围绕着同一种心绪的多声共鸣曲。因为，他的实验水墨创作，正是由他生存处境和态度所决定的，并强化了对现实的无奈和无限矛盾。仿佛被裹狭在其中的我们，都融入一个现实所处无法把握，甚至尴尬的境地。
除了这种内心的叙述话语，以及多声部共鸣的复调式结构之外，王璜生的艺术还在于他图像处理上进行的一系列视觉张力的设置。这种张力并非只是体现在墨荷、缠枝、向日葵等某个自然物象、景致之中，而是使整个画面处在一种饱和的视域中，也是他在由水墨艺术向多媒介方式演绎的“居间”的过程。他有意打乱了结构的次序，把它切割成无数的碎片，然后在斑驳背景上痕迹的连接，在真实中引进梦幻，并随着它们伫立、摇曳和魅惑的姿态，无疑为他艺术表现的内心上，提供了广阔而又深邃的背景，提供了一种沉郁、惆怅的神秘。而这种神秘的震颤，铺垫了视觉主干的质地，达到了真实和表现产生的间隔与交杂。而现成品的铁丝网构成的影像，使锐利、防卫、伤害的清晰实体变成似幻的如影随形，这种重影与真实形态的叠加，拓展了冲突的容量，产生了一种“隔空”变幻。这是一种相互关系的吸附，或许还是日常工作的繁杂琐碎，抑或烦闷的情绪导致了“守望星辰”时，灵魂出窍般地“游走”过程的心理踪迹。
王璜生在“报纸”系列作品所选择的方式，是将现成品《南方周末》、《参考消息》等报纸媒体进行“处理”。这些报纸都是伴随着我们关注社会，了解现实信息资源，并与我们日常生活密切相关。从看与被看位置的位移，自然对具有“影响的焦虑”图像有所凭附。旋转的线条、笔触、色斑覆盖在原有的图文之上。这种对原文本的“介入”，意味着主动的改变，观者必须绕过他的笔道儿，才能窥见原本的“真相”。但吊诡的是报纸媒体的内容未必是客观的，那么如何选择“原图”和“笔道儿”就是他主观、人为把握的“介入”结果，使这些被“介入”的作品，将两种图像予以纠缠与掩盖，从而产生出一种新的遣词空间，是在“互为图像”的关系上对原有创作意识和表述方式的再处理，抑或也是一种“新叙事”或“反叙事”尝试。也许当今的社会变化太快，科技发达的已超乎我们的想象，电脑的普及和对真实文字、图像无所不能的“处理”，使我们离“本原”愈来愈远，真实的本质被各种各样的“处理”所扭曲。
实际上，所谓新闻报纸的“真实与客观”都带有那个阶段文化特征及意识形态，文字与图像只不过是其中的符号象征罢了。所以，与其说王璜生是在处理这些媒体，不如说这是他有意带有一种实验性的破坏，也是拼贴与建构性的尝试，使这些熟悉的内容陌生化，以控制观者的期待，让观者体味到经过处理的新作品所产生的惊奇，以及摆脱原有传播之后的自由。这种态度不仅是个人的，其实也是差不多是我们大家共同的。时代和社会当然是大手笔，几乎没有谁能够躲避和拒绝这种强加，我们只好按照时代和社会的规定性成长。或许只要把握住了介入性处理，便能够更好地认清背后的意图，从而使我们能更加清楚地认知事物的本质。
而支撑王璜生实验的观念，除了不愿将已固定化了的风格样式一直延续下去之外，其实是与他的对现实、对艺术本身的思考是一脉相承的。对当代文化境遇的思考和敏锐，将导致对旧有艺术形式在方法论上的改造，而艺术家需要用一种规定为“艺术”的方法来体现这种思想和观念。从而也提供了我解读他艺术创作的另一条线索。冯博一（评论家，策展人）2013年
Boundless DetachmentWang Huangsheng's experimental art creation involves with endless conflict between personal poetry and real situation, while in such attached dependency, he was seeking for a visual transformation and defamiliarization effect by means of multi-media experiment. Encircling, crossing and entangling of lines are boundless; intervened obscure on newspapers results to reciprocal images which are subversion and deconstruction of ideology carried by media; among fragmental structures between the tangible and the intangible, virtual and real, as well as light and shadow, it becomes personal feelings on property of survival reality, like moved and floated as accompanying shadow in the critical point between these works. This exhibition thus constitutes Boundless as the theme, juxtaposes three spaces of black, white and grey, and therefore holds three thematic exhibitions respectively of Spacing, Intervention and Intermediate. This is Wang Huangsheng's another major solo exhibition following Post Refined Joyin Beijing, 2012 and Roaming-Apparition in Germany, 2013. It is an epitome of his artistic creation at this stage, and means that his creation lies in the experimental process of exploration, as well as his attitudes towards art is always in endless detachment and extension.
Yet from his Clue Series started in 2009 to the Moving Visions Series created in 2011, I don't think they could be commented in the way of the so called 'from figurative to abstract' which was for his earlier works, but rather, they need to be interpreted from the complicated life circumstances he faced. In my mind, although Wang Huangsheng has a special feeling for Chinese ink and wash painting, some works of this exhibition is not merely focusing on the aspects of art language of Chinese ink and wash painting, as well as revealing an internal outpouring through the twining lines, thus he could make the integral structure of the picture form a kind of ensemble-style tone with multi-voice, or in another word, a kind of multi-voice sonata around the same mood, because his experimental ink and wash painting creation is determined by his living situation and attitude, and reinforces the helpless and infinite paradox of reality. As if we are all wrapped into it, and merged into a position in reality which are unable to grasp, even embarrassing.Except for the narration discourse from the inner heart, and the multi-tone structure with multi-voice resonance, Wang Huangsheng's art is also special in his image processing which sets a kind of visual tension. This tension is not only reflected in some natural objects and sceneries like lotus, twinning branches and sunflowers, but rather, he put the whole picture into a kind of saturated vision, that is a intermediate process of this ink and wash paintings developed for a way of multimedia. He disordered the structure intentionally and cut it into countless fragments, then he connects their traces on the mottled background, and introduced dream into reality; moreover, along with their charming postures of standing, dancing and others, undoubtedly, broad and profound survival background, and a kind of gloomy and melancholic mystery are also provided for his inner artistic representation. This kind of mysterious tremble has bedded the essence of main visual body and achieved the spaces between dream and reality as well as their merging. Images consisted of ready-made wire gauze changed clear substance of sharpness, defense and harm into illusory images and then this kind of images are overlapped with realistic shapes to explore the capacity of the collision, and resulted a "spacing" phantasmagoric play. It is an attachment of correlation; maybe also the busy and trivial daily work or the depressed and bored mood has led to Wang Huangsheng's Motion/Imagination inner traces in his Watching the Star like an astral trip.
In his Newspaper Series, Wang Huangsheng chose another way to process ready-made Southern Weekend and Reference News. These newspapers are information resources accompanied us to concern about society and learn about the reality, and closely related to our daily lives. And displacement of seeing and be seen had attached naturally to images of influent anxiety. Rotating lines, strokes, spot covered on top of the original image and text. This intervention into original text means a proactive change, so viewers must bypass around his stroke to see the truth of the original. But it is paradoxical that the contents of newspapers are not unnecessarily objective, so the selection of "original images" and "stroke" is his subjective and artificial "intervention", makes these works had been "intervened" to entangle and cover two kinds of images, thus to produce a new wording space, which is a re-processing of original intentions and expressions based on the relationship of reciprocal images, or efforts for "new narrative" or "anti-narrative". Maybe today's society is changing so fast, advanced technology has been beyond our imagination, popularity of computer and omnipotent process of real texts and images make us far away from the primitive, and true essence is distorted by a variety of "handling".
Actually, the so-called "true and objective" newspapers carried with cultural identities and ideologies of that stage, so words and images are only symbolic. Therefore, Wang Huangsheng is not so much in dealing with the media, as it is his intended experimental destruction, also an effort to tile and construct to make these familiar contents become a strangeness, to control the viewer's expectation, to make viewers to appreciate the resulting surprise at processed new works, as well as freedom gained after get rid of original transmission. This attitude is not only individual; it is actually almost common for all of us. Age and society, of course, are major themes, thus one could escape and refuse to such imposes, then we had to grow up followed the times and social determinants. Maybe one just grasps of interventional treatment, he will be able to understand better the intentions behind, thus enables us to understand more clearly the nature of things.
Concepts which support Wang Huangsheng's experiments actually can be traced into the same origin with his reflection on reality and art itself, besides reluctant to keep the immobilized styles. Meditation and sensitivity upon contemporary cultural context will lead to methodological changes to old art forms and what our artists need is to reflect this thought and concept in a way defined to be "art". Thus it provides me another clue to interpret his artistic creation.Feng Boyi Critics, Curator
2013