《念》这幅油画，借用了剪刀这个载体以及其处于的状态，用纯粹的写实手法和较为轻松的笔意，来表现“念”这个字所带给我的心理感受。

画面描绘的是一把拥有岁月痕迹的剪刀被挂起被浸泡，上下皆有作用力，受到束缚，处于中间却又拥有一定的空间，微痛，微酸，忧患，冷寂而纠结。这样的物象被转换为“念”这个意象来让观众体会其中微妙的心理效应。

“念”是人心情低落时的心理状态，是一种思考,念想，也是一份思念，在佛学中又被视为一种记忆。跟着思念与念想而引申出来的便是忧患与恐惧。这与画面所传达的意境如出一辙。

画面意在挖掘人的内心潜藏感受。在现代生活表面的富足与欲望背后人们的内心是脆弱而纠结的，心中常生念念。而这些念念往往是被用来逃避的。当我们直视它时，内心则泛起隐隐的痛。

这幅作品是我运用油画语言来进行自我内心对话的一种探索，非常符合当今社会人群的心理需求。人们内心潜藏的念念，时常会作痛，只有把它揭开，才能过得更真实。

王怡

2011-11于北京清华大学

Missing

Missing, with the carrier of a pair of scissors and their state, presents the psychological feelings the word “missing” brings me in a purely realistic and relaxed style.

It portrays a pair of weathered scissors being hanged and soaked, being pulled from above and under. They are restricted, but still have some room, slightly suffering, aching, miserable, quiet, lonely and confused. The image was transformed into the concept of “missing” to inform audiences of the subtle psychological effect.

“Missing” appears when people feel down, is about thinking, about yearning, and is a memory in Buddhism. Misery and fear also extend from missing, which was quite consistent to the prospects in the painting.

The painting intends to tap the potential feelings of people. Behind the superficial affluence and desire of modern life, the souls of people are fragile and confused, with thoughts in which they tend to flee from reality. When people have to face it, they will have a dull ache in the heart.

The painting is an exploration of my inner dialogue in an oil painting language, which meets the psychological demand of society. It often aches when people have the underlying missing, and only by unveiling it can people live a truer life.

Wang Yi

November 2011, in Tsinghua University, Beijing