赵一囡对于抽象绘画有着自己独特的感觉，她自然而然的选择了这种方式作为情感的载体，并且逐渐形成了自己的特色。

抽象艺术不指向客观的物质世界，而指向主观的精神世界；不描述现实的具体事物，而是表现人的丰富的内心感受。面对纷纭杂乱的世界，赵一囡深深的感到“现实的物象在飞速流变，越来越快的科技，越来越多的物欲，越来越复杂冷漠的人性，似乎一切都在流动中充满了缠绕性。”然而她没有把注意力停留在外部的世界，而是去“观看”自己的感受，倾听自己的心灵，体味着内心微妙的冲动，并通过画笔对声音、物象、气息做出敏感的反应。

赵一囡把内心细微的振颤转化成一种富有生命力的视觉符号，这些符号蕴含着中国象形文字带来的启示，又吸收了草书的因素，每一个符号就像一个字形，又像一个独立的生命体，它们密集的缠绕在一起，呈现出一种原始图腾的美感。赵一囡作画的状态象写信一样自然流畅，那些符号性的生命体在连续书写的笔端不断地流淌出来，又连接成音乐般的节奏，时而急促，时而舒缓，它们隐喻着生命的流变和涌动，记录着画家心灵的脉动。

《诗品》里以“芙蓉出水”和“错采缕金”来形容两种不同的诗风，宗白华据此引伸出中国美学上的两种审美理想。简而言之，前者是一种单纯清淡的美，如同写意水墨画或青花瓷器；而后者则是繁复茂密的美，如同民间彩绘、京剧服装等。赵一囡作品的审美取向近似于后者，画面紧锣密鼓，铺天盖地的展开，她摆脱了客观的色彩规律而强调主观的情感色彩，从中国传统民间色彩和西方现代绘画中吸收了诸多因素，形成了浓郁而灵动，热烈又神秘的效果。

赵一囡喜欢反思各种各样的问题，这为她的作品提供了丰富的底蕴，她试图不断探索人类活动给她的生命启示，并将这种生命信息完满地记录在画布上。

-祁海平<<流变的生命符号>>

Abstract art points to the subjective spiritual world instead of the objective material world; reflects the complicated inner feelings instead of presenting the specific objects in reality. Facing the chaotic and clamorous word, Zhao deeply feels that “the realistic substances are quickly developing and changing including the increasingly more advanced technologies, the more human desires and the more complicated and indifferent humanities, and all the things seem to be entangled during the flow with each other.” However, not paying attention to the outer world any more, she is concerned about her own perception, listens to her own heart, experiences the subtle impulses, and sensitively reacts to sounds, phenomena and smells through her paintbrush.

Zhao transforms the tiny vibrations from her inner world into the lively visual symbols. These symbols contain the enlightenment of Chinese pictograph, and also absorb the elements of calligraphy in the cursive hand. Each symbol is like a character and also an independent living creature, thickly entwining each other and presenting the beauty of primitive totems. Zhao’s state of painting is as natural and fluent as writing a letter, as these symbolic living creatures incessantly flow out from the paintbrush, linking up into a rhythm like music, sometimes short and rapid, sometimes slow and relaxed. They imply the development and surging of life, and record the painter’s inner impulses.

In An Evaluation of Poetry, the two phrases, “a fully open lotus flower out of water” and “too much decoration in engraving”, are used to describe two different kinds of poetry styles, and according to this Zong Baihuai deduced two kinds of aesthetic ideals in Chinese aesthetics. Simply speaking, the former is a sort of pure and fresh beauty, like the impressionistic ink painting or the blue-and-white porcelain; the latter is the complicated and exuberant beauty, like the folk colored painting, the costume of Beijing opera, and etc. The aesthetic tendency of Zhao’s works inclines to the latter, as the painting is quite dense and overwhelming. Abandoning the objective color principles to emphasize the subjective emotional colors, Zhao absorbs diversified elements from traditional Chinese folk colors and western modern painting, forming the intense, passionate and mysterious effect.

by Qi Haiping <<Developing Symbols of Life>>

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