The impersonal mystery of the universe, its mighty principle, its manifold manifestations and the secret which unveils itself in the innermost soul of things are the conceptions which form the inspiration of Chinese painting
张大千 天女散花 2010年拍出6200万元
这是喻红的油画作品《1996 年30 岁》局部，隶属《目击成长》系列
Raphael Petrucci 1920, Chinese Painters, a Critical Study, p 144.
It must be difficult to be a young ink painter today. The range of styles and influences open to contemporary artists is wider than it has ever been. Recent years have seen an explosion of interest in traditional Chinese art as well as a dramatic increase in the international exchange of ideas and styles. But Junyi is someone with a clear vision both as a person and in her art. Her work is forthright about its debts to the traditions which have influenced it but it also possesses a unique character and individual flavour.
这是喻红的油画作品《1996 年30 岁》，隶属目击成长系列。孩子和艺术创作，都需要倾注心力，也是艺术家妈妈内心天平上角斗的两种力量。刚成为母亲那几年，喻红也纠结在这两股力量中，随着孩子逐渐长大，她重新开始梳理自己，意识到了母亲的责任，又从责任萌发了女性自觉意识在艺术创作中的位置。在此之后，她变得广博，格局也从女性自身情感，转向了女性个体与社会的关系，又朝向特定族群关怀。
One of the strongest influences on her work is surely her father, Li Xiaoxuan. His influences are perceptible through the deep plunging diagonals of her compositions and her works psychological introspection. Through her fathers influence she channels a style which makes reference to German expressionism filtered into the Chinese artistic canon through the woodcut movement of 1930s Shanghai. But whilst her father concentrates on the angst of modern day city life, Junyi escapes on flights of fancy and through fairytale daydreams.
The ethereal character to her paintings is made clear through the depiction of figures on dramatically different scales underlined by rigorously painted lines of perspective often mapped out by elongated and distorted limbs. Her paintings blend aspects of Buddhist mural painting with the simplicity of Chinese folk art and Western nave art to create a new visual language. In her 《母亲心》 Mothers heart series a female figure constitutes the central axis of the painting with limbs that give way to mountains and fauna in which children are coddled or freely playing. Figures merge into the landscape in a way that is at once jarring and harmonious.
Another dimension to the paintings is their femininity. Whilst this does not define the works it is certainly an important component. Junyis feminine touch is expressed through her lively and vivacious brushwork, subtle colouring and exploration of female identity in works such as the 《镜中人》Inside Mirrors series.
It is said that it is only in old age that an artists talent is truly revealed. Junyi is still young and her work is full of youthful exuberance. There are a multitude of directions in which her art might develop in the future. But what we can be sure of is this. She grapples with the fundamental issues of art and particularly Chinese art humankinds place in, and relationship with, the natural world. She is not swayed by fickle fashions as are so many young artists working today and her work leaves much for us to enjoy and contemplate.
而对于海蒂芙欧特(Heidi Voet)， 一个嫁入中国家庭的比利时艺术家，似乎又显得不同。她早早就萌发了女性自觉，一对龙凤胎子女则拓宽了她关怀的视野，她说：更希望能为所有的孩子创作。