2006B, 布面油画,300x500cm, 2006
 

      杨黎明将以往的蓝色调换成了黑色调，表明他对抽象结构的探索从潜意识变成主动追求，因为在黑灰色调中追求结构表现难度很大。杨黎明不懈的努力最终使作品有了明显的突破。画面以维妙的透视关系构成的方块结构，体现了西方现代抽象原则的形式框架，而以笔触的深浅转折构成的递进的层次和韵律，又表现出中国传统抽象原则的感觉元素。

 

2008-2011No.1R,布面油画, 215x560cm, 2008-2011

      
     杨黎明说他苦练了多年的书法，不是为了控制“字”的间架结构，我理解正是为了把握这种“笔触与心灵直接对应”的感觉。杨黎明画面的“跳动的曲线”的形式感较两年前有了较大推进，尤其笔触的细微转折的表现力，不仅增加了画面形式丰富的层次感，而且表现出一种平静蕴含悸动，温和凝固羞涩的内心感受。杨黎明将画面整体的西方抽象的直线直角的形式框架，和细部的中国传统抽象性的表现方式的结合，表现出他以西方抽象原则转换中国传统抽象性的主动探索，对中国当代艺术进程中抽象语言方式的发展很有意义。

——选自《抽象的感觉--杨黎明的结构与韵律》

 廖雯 2006.3.29

 
2008No.1B, 布面油画, 215x280cm, 2008

       与再现现实的模仿论写实主义风格形象受制于具体环境和人物的外在形象，因而在空间表现上不可避免地带有诸多局限有所不同的是，非现实的抽象空间的意象表现，却有着无穷变化的可能，尽管有许多抽象艺术作品，但是并没能充分地发掘出它的魅力。杨黎明的早期抽象作品就有这样的明显痕迹。但是，他近三年创作的大量作品，尤其是黑色系列的大尺寸油画，无可争辩地向我们展示出抽象绘画在表现非现实的意象世界时丰富异常的视觉魅力。这些作品里似是还非的懵懂形象，扑朔迷离的光影变幻，富有节奏的笔线韵律，释放出一个个厚重但富有生命的意象形象。

      传统的中国抽象笔墨，飘逸潇洒但有失空间上的厚重和质感；现代西方的抽象艺术注重空间的结构和视觉张力，但缺乏诗性的感悟。杨黎明在融合中西抽象绘画方面，从对非现实世界的认识的再现入手，深入进绘画的内在结构和模式之中，又上升到绘画的视觉语言形式，取得了令人信服的艺术表现，无疑为时下中国抽象艺术的叙事实践提供了一个有效的案例。他的抽象艺术实践，为探索富有中式审美意识的艺术精神提供了一个鲜活的视觉样式。他的艺术创作以及其他当代抽象艺术家的实践，开拓了中国当代艺术在风格和样式上的视野，为中国当代艺术向着自身深处的挖掘和完善，提供了一个重要的维度。

——摘自《虚拟非现实—杨黎明的抽象艺术叙事》

高岭 2007.11.28

       Where this differs from representative imitative theory realist style images limited to specific environments and external forms and there for unable to avoid much limitations in expression, the conceptual expression of the abstract space of unreality has the potential for limitless change; thought here are many abstract works of art, it is impossible to adequately unearth their appeal. Yang Liming’s early abstract works clearly bear these marks, but in most of his works of the past three years, especially the large oil paintings of the black series, he has irrefutably shown us the rich and abnormal visible appeal present when expressing the conceptual world of unreality. The seemingly so yet not muddled images in these works and the complex and confusing interplay of light and shadows are full of rhythmic linear harmony, releasing one heavy yet vivacious conceptual form after another.
 

2011-2013No.1R, oil on canvas, 150cm,2011-2013

        Traditional Chinese abstract inkpainting floats lithely yet loses its weighty texture; modern Western abstract art emphasizes the structure and torsion of space, but lacks in poetic comprehension. In bringing together the Chinese and Western aspects of abstract painting, Yang Liming enters through the recreation of his recognition of unreality, going deeply into the internal structure and patterns of painting and rises into the visual language forms of painting, gaining a convincing artistic expression, undoubtedly providing an effective case for the practice of Chinese conceptual art currently taking place. His practice in abstract art has provided a lively visual format for the exploration of an artistic spirit richly endowed in the Chinese aesthetic mentality. His artistic creations and the practices of other contemporary abstract artists have opened up the stylistic field of vision for Chinese contemporary art, and provided an important dimension for Chinese contemporary art in its excavations and improvements towards the depths of itself.

——'Virtual Unreality Yang Liming’s Abstract Artistic Narrative'
By Gao Ling  2007.11.28
 

 
 2012No.1G, oil on canvas, 75x90cm,2012

        Yang Liming belongs to the first generation of Chinese artists STARTED TO WORK SINCE THE BEGINNING OF the 21st century (has produced). They have been less contaminated by ideology, and have a reflexive awareness transformed by the creativity of classical Chinese culture, as well as recognition of the destiny of all art down through the ages. Because of this, the ‘ideological content’ of Yang Liming’s work is not empty political posturing, but a mature reflection on the fundamental connection between art and life. He approves of this description of his work:‘The renewal of close examination of the self while LOCKED (situated)in a territory isolated and cut off SITUATION ( from the world outside)’.Yes: isolated and cut off. Shallow theories of evolution can’t change this. What art can do is give non-stop confirmation of the increasing depth ANDWEIGHT of ONE’S (the) self (and the complexity of its component parts -- YL:WHAT‘STHIS?). So the sea of his art is flowing, not away, but into. It disputes with no-one, but is in amicable and equal discourse with the mighty soul of Art. On the THINKING (ideological) level, he has a sure and certain grasp of time and space: to be free of the logic of linear time does not at all mean that time has simply been denied or made to vanish, but that time has been absorbed and contained, has become an organic layer within space, initiating in its vast wandering the life force that is everything and everywhere. This inclusivity is extremely challenging, for as an artist who rejects adherence to fashion, his ego is directly exposed to the scrutiny of all the great classical masters. Can he stand up to this scrutiny? Yes, Yang Liming is self-aware enough for this. His paintings are, first and foremost, paintings. That is to say, they do not draw on second-rate philosophical excuses for support, but return to reliance on the skill of the artist’s hand, seeking to be QUALIFIEDFOR (judged) BOTH (neither on) CONCEPTIAL ANDTECHNICAL JUDGEMENTS. (concept nor on execution – although,) the more elevated the concept, the more it has to BECONFIRMED BY (confirm) the completeness of the form! Having reached this point, his attitude to the East is the same as his attitude to the West: not splitting THEM COLECTIVELY (into groups), but a complete INTROSPECTION (rethinking), and a synthesis. The Western tradition of oil painting and the insights of Chinese philosophy are both in his genes, and are both resources he can draw on. And why not? If we are innately hybrid creatures, the surely we can gloriously transcend both halves of our joint heritage. Perhaps this is the reason that the intellectual JOURNEY INSIDE OF (force of) Yang Liming’s work leads to visual beauty FINALLY. The canvases, are, each one, outstanding, lovely, and simple yet rich, serene yet animated, with the emotions implied by the ideas, and ideas flowing from emotions. (I originally wrote, FEELING AT THE DEPTH OFTHINKING? from the deepest emotions of thought.) Yang’s insight is expressed in this sentence of his: ‘I used to want to paint black blacker, but now I want to paint black transparent’. Will we too get to see the hidden source of the light? Black is light itself, if you have the strength to create it. The boundlessness of life is assumed into the ONE of art, and from the heights (depths) of the ONE our being here is made manifest. Is this ‘Eastern thought’? Or could it be the original realm of the human spirit?

——'INFINITIES IN SILENCEBLENDING INFINITIES BLENDED UP SILENTLY?--Yang Liming’s Oil Paintings'

                                         By Yang Lian  2011.11.15