我投身自然，自然依旧。我将绘画带入自然，而它无动于衷。自然原本就不需要被描绘，也不需要被赞美。
荒原之美覆盖了我，一个所谓文明人。人类一层层拨开世界的未知，似乎一切尽在掌握。古代的艺术不表现小我，那时的绘画对世界敬畏。而当人类登上月球之时，对自然的敬畏也悄然渐去。
绘画，生存了数万年，如同人类本身，不能被轻易定义。在自然中绘画，是我此时此刻想做的，它和描绘自然本身无关。
阿里是一个幻象，对于我并不真实。那里无穷无尽的巨云近在咫尺，翻滚、舞动，我感受到的是一种巨大的冷漠。在那里绘画，如同飞蛾扑火。每天同一时间我将画布固定在湖边，大部分时间我坐在那看，两个小时、三个小时……这样长久注视同一个地方，会让我忘记自己的存在，忘记艺术的存在。
走的远，是为了离自己更近。距离增强了人的意志，距离让人变得简单，距离消减了惯性和琐碎。数次地长途跋涉，我思考绘画对于我究竟意味着什么？在那里，兴奋的同时也惧怕着。每年一次置身同一个地点，同样的石头安静地躺着。如此这般地接近它，而我对阿里仍旧一无所知。
在与自然的相处中，我竭尽全力想找到和它的某种深切联系，我慢慢体验到一种节奏，一种虔诚，它使我从不安中逐渐平静下来。那时，绘画成为一种朴素的劳动，一种耕种，让我觉得踏实。刘商英2015年5月Painting in Nature
When I devote myself to nature, it does not change; when I bring my paintings to nature, it remains as usual. Nature does not need to be painted or praised.
The beauty of wilderness overwhelms me, a so-called civilized human being. Getting closer and closer to the unknown world, we seem to have everything in control. The individual self was never the core of art in ancient times when painting was characterized with respect for nature. The moment human beings stepped on the moon, they lost their reverence for nature.   
Painting, with tens of thousands years' history, is as difficult to define as human beings themselves. At this moment and in this place what is on my mind  is to paint in nature, something that has no bearing on painting nature.  
Ali is a vision, for it is by no means real to me. Looking so close, the boundless clouds are rolling and dancing, striking me as something rather indifferent. Painting there, we are like moths flying into the flame. Everyday at the same time I would fix the canvas there, but I would spend most of the time watching, two or three hours, I think. When gazing at the same place for a long time, I forget myself, along with art.  
   In order to be closer to ourselves, we have to travel far. Distance strengthens our will power, rids us of complexity, and saves us from sluggishness and trivial matters. On the long treks I explored what painting really means to me. There excitement and fear followed each other. Every year I went to the same place where I find the same stones lying there undisturbed. It was so close to me, but I knew nothing about Ali, as ignorant as I had been when I got there for the first time. 
Trying to find the tie with nature, I, in its embrace, came to find a tempo and a kind of piety that restored me to calm and peace. Then painting became a kind of labor and tilling, simple and plain, that freed me from anxiety. Liu ShangyingMay,2015