冯硕Feng Shuo

冯硕的绘画始终在两种状态之间摆动：一种是寓言式的、克制的叙述——画面平整，形象静默，像被抽空了时间；另一种是狂欢式的、拥挤的喧闹——身体、动物与孩童彼此叠压，秩序在笑声里失效。

Feng Shuo’s painting oscillates between two states: a fabled, restrained narration — flat surfaces, silent figures, as if time had been drained out of them; and a carnivalesque, crowded clamour — bodies, animals and children pressed against one another until order collapses into laughter.

他不描绘故事，而描绘故事被讲述的现场：谁在看，谁被看，谁假装没有看见。动物常被赋予人的表情，孩童则带着不合年龄的从容——两者都是把观者推向自我审视的镜子。

He does not depict stories but the scene of their telling: who looks, who is looked at, who pretends not to see. Animals wear human expressions; children carry a composure beyond their years — both are mirrors that push the viewer back onto himself or herself.

墨黑的底色让色彩成为事件：陶土红是一次定罪，砒霜绿是一次和解，青瓷是一次遗忘。色彩不解释情绪，它只是把情绪留在画布上，任其发酵。

Against a lacquer-black ground, colour becomes an event: terracotta is a conviction, arsenic green a reconciliation, celadon an act of forgetting. Colour does not explain emotion; it simply leaves emotion on the canvas to ferment.

2008 年在纽约 Marlborough Chelsea 的个展「寓言」与 2012 年的「狂欢」是他两个阶段的中点。前者以静默收束，后者以喧闹展开，而问题始终是同一个：我们如何在观看中成为共谋。

The 2008 solo exhibition Tales at Marlborough Chelsea, New York, and Carnival in 2012 mark two midpoints: the first closes in silence, the second opens in noise. The question remains the same: how do we become complicit in the act of looking.