我的画面里有“人”的形象。这实在是兜了圈子。我并不想画任何具体的“人”，也不想落实到具体是谁。从前的人们开始不再满足“窣堵波”或是神的足迹来纪念佛，从而佛的形象落进人间。世俗的神迹故事也渐渐化进了大众生活，形象跟着生活走。
There are images of human beings in my paintings. This is really circling around the most
important. I do not really want to paint any concrete human being, neither would I explain
who the human beings are. Long time ago, people were not any more satisfied by Stupa
or traces of Gods while praying. Therefore, the images of Gods appeared in our human
world. Worldly stories about Gods gradually came into people’s lives. Images always
follow our lives.
在各式人样与世俗生活中，却我本能地想回去，山山水水其实也是人，我也想把人当做山石或是树枝岚气之类，既是世间万物一样去看待。我要一个更远的世界。象我儿时初有知觉时，认识的世界，“我”在里面，却依然遥远，远到可以触及每个敏感的心底里。无论逝去或是将来。
However, in this worldly life full of different images of human beings, my instincts are
calling me back to the past. For me, mountains and rivers are also human. In the same
way, I would also regard human beings as various objects in the world, such as
mountain stones, brunches of trees or the fragrances of flowers.I am searching for a
more distant world. A world which resembles the one I knew when I first became able
to develop my senses. "I" am inside this world, but it is still remote, so remote that it
can touch every sensible heart, whether it be in the past or in the future.
他们看着画面，说：这是“你吗”。我说是吧，它们的确就是我的元素，那些细细密密的透不过气来的东西，无处不在，也间隔距离。对于绘画上的“精微”，有时候就像海森伯的不确定关系定义，我们无法测量世界，矩阵中的不对等性就像任何一个企图尽力去描述世界的形象或词汇，都是无法企及那样。而不停的变幻也是各式意会的可能途径。距离是通道，打开某个眼，不确定的交换沸腾才是美妙。
People observe my paintings and ask: "Is that you?" I would say "yes". Those tiny little
things, so fine and compact that they would make one breathless. They are everywhere,
yet remote. They ARE my elements. The "finesse" of painting somewhat resembles to
Heisenberg’s uncertainty principle. We cannot measure the world. The inconformity in the
matrix is just like any image or word which tries to describe the world but fails. Whereas,
the constant changes are the possible ways of different understanding. Distance is the
route. It leads to an opening. The uncertain exciting exchanges are the most beautiful.
一件作品，放在前面，我想要保持“间距”力量。“距离感”像水的浮力，空气动而有风一样，从而伸展出让人各自的认识一个小世界的途径。
In front of my paintings, I would like to preserve the power of "distance". "The sense of
distance" is like spurts or breezes, leading a way for everyone to enter and get to know a
small independent world.
细细晕染空气是我乐意的，在每样物象之间，都有各式各样的小小存在，它们或是一些最简单的节奏，进而也是一些原子电子量子，那些非可见的也无法确切测量、描述的“场”在绘画中，也会转述成“格调”，“吸引力与气质”。
Painting the air delicately is what I am fond of. Between every two objects, there are
various tiny little existences. They are either simple rhythms or atoms, electrons or
quantum, the invisible, unmeasurable and indescribable "fields" which can be interpreted
into "taste", "attraction" or "allure" in painting.
笔落下，既有痕迹渐成形象，毛笔，纸的各式纤维，痕迹墨色；都是诗性节奏，细微牵动着神经。线与笔墨赋予可见的形象联想之外，也应有更深沉的意味。
When a brush touches paper, ink stains gradually become images. The brush, the paper,
the fibers, traces and the color of ink are all poetic rhythms which delicately vibrate our
nerves. Lines and brush-and-ink should contain deeper meaning beyond the visible images.
“风值水而漪生，日薄山而岚出”是我喜欢的世界，随机与幻化，在“人”间是更难得的样子。
" When a breeze kisses a lake, ripples are born. When the sun leaves a mountain, mists
are born. " Such is the world that I love. Random and magical changes are so rare in the
"human"world.
再回到那些“人”。某个世界的人，摒弃一些性别的差异，留下他们自己的体态。是未经时的纯粹，也是遥远神性的招引。男与女的性别差异或是交织，在这里不是重要的事情。里面还有树、石、莲花、鹿、飞鸟、风、水气、香。这些都是我喜爱的东西。它们总带着：清远，愉悦、凌厉、沉重、模糊、牵引、暧昧、悠扬自生不息、孤独沉寂不语的气质。
Let’s return to the "human beings". The human beings of a certain world, who have gotten
rid of the differences between two sexes, leave their own postures. This is the pureness
of innocence and the attraction by some distant divinity. The differences and the mixture
of the two sexes are not as important here. There are also trees, stones, lotus, deers,
birds, breezes, mists and fragrances in the paintings. This is what I like. They always carry
meanings like: distant clarity, happiness, sharpness, gravity, vagueness, attraction,
ambiguity, endless succession, loneliness and wordless silence.
曾是一个场景吗？虽然有天远地缘，但依然可以化作每个观者自由维度的心境。
Could there be such a scene? Though in the paintings there is the sky above and the
earth below, every viewer could still have a free state of mind.
作者：潘汶汛 翻译：张舒
Written by Pan Wenxun, Translated into English by Zhang Shu
