每次看吴笛笛的作品,我都会获得一种久违的清新之感。雅致的色彩、闲淡的构图赋予作品浓郁的文人气息,使其与当下流行的卡通绘画、艳俗化的图式拉开了距离;洗练的笔触、质朴的画面与作品在叙事过程中流露出的想象力的悄然结合,让作品多少弥散出…股梦幻现实主义的审美意味;而那些保留长轴外观的尺幅不仅会增强作品图像的阅读感,也会为观看注入一种时间意识。事实上,站在吴笛笛的作品面前,与其说我是在观看,毋宁说是在阅读,因为那些图像不仅仅只有造型与色彩上的表达,更有情节与内在的叙事性。在吴笛笛的作品中,图像无疑成为了意义显现的“索引”。但是,对于艺术家来说,使用这些图像并不是要将它们当作一种个人图式或个人标识,而在于言说图像背后的互文性,并以当代人的文化与社会经验去审视它们,最终在视觉转换的过程中使其具有新的文化气质与审美内涵。 Every time I read the works of Wu Di, I will get a long absence of freshness. Elegant color, light composition of the work gives a rich scholarly flavor, so that it is popular with the current popular cartoon painting, gaudé’s style opened a distance; refined brushwork, simple images and works in the narrative process revealed the imagination The quiet combination of power, the work of the number of diffused out ... ... dreamlike realism aesthetic sense; those who retain the long axis of the appearance of the scale will not only enhance the sense of reading the work of the image, but also to inject a sense of time for watching. In fact, standing in front of the works of Wuddy, I was watching rather than reading it, because the images were more than stylistic and color expressions, more plots and narratives. In the works of Wuddy, the image undoubtedly becomes the “index” of meaning. However, for artists, the use of these images does not mean using them as a personal schema or personal identification, but rather speaking intertextuality behind the images and examining them with contemporary cultural and social experiences, eventually In the process of visual conversion, it has a new cultural temperament and aesthetic connotation.