一个毋庸置疑的事实是，其实这些图像已经再现了王晶的生存方式、社会现实和接受教育的背景，当阅读者在阅读王晶的视觉图像时，实际上是对符号的一种阅读，这其实也存在着一个问题或者说王晶有意在给人们编织一个陷阱，即谁来阅读王晶的图像，而王晶的视觉表达也必然让我们联想到我们日常的生活方式和日常行为，就是在图像时代和消费社会，似乎总有一只无形的手在操控着我们，使我们在日常生活中自觉不自觉地丧失或丢失了自我，异化为机器复制时代的一个“物”，由此，亦会发现我们的思想被电视支配，我们的消费被广告支配，我们的日常行为又越来越受微信微博困扰，广告引导着人们消费，刺激着人们的欲望，这是生活在今天的人们无论如何也难以逃避的残酷的社会现实，可以说，通过王晶的图像，亦我们体察到其间图像的传播与图像的接受问题。

　　当《大取经》这些图像放在公共领域进行展示时，对王晶图像的接受就不是一种个人行为了，它昭示出的是一种集体阅读经验和社会心理，正是这种集体阅读亦把消费社会所带来的文化的大众化、流行性和通俗性文化表征淋漓尽致地和盘托出，这还是商品化世界里的物与图像，他也印证了这样的事实，即图像的消费开始进入人们的日常生活中。

　　王晶以一个当代社会的观察者，以当代的视觉经验为基础，揭示出当代社会转型所带来的困顿与焦虑，当然，对王晶这代人图像的解读也才刚刚开始。

　　2014·2·20下午16:00

　　于东湖三官殿

　The Curator’s Words

　　Ji Shaofeng

　　The epochal spirits of time can be immediately perceived while the popularity (in terms of extensive receivers, prevalence, accessibility of object) appears as the heart of the matter of the cultural representation in Wang Jing's visual narrative, in his zealous reconfiguration of the historical memories of his experience, or, to be more specific, in his series paintings under the umbrella title A Grand Journey to the West. What are embraced within are the “journeys,” which he, following the memory motif, have waken up, recalled back from his memory pool and represented in the form of fragments.

　　Strikingly presenting everyday trivialities or fragmental memories, his pictures not only lead to a roam through his personal life stories and cultural memories, but also evoke memories among a generation, or even several, who own them as the commons. Also, viewers are invited to take a new look into the relationship between these pictures and the social milieu/ personal existence. For Wang Jing himself, who represented these memorial pictures with paintings, now not so sacred or significant is the painting itself as it was before; instead, in his mindset the picture becomes more prevailing. It can be said that picture has to some extent surged over painting, since it is the very expression method- also, at once a strategy and a carnival - that today dominates this pictorial epoch, in which Wang Jing grew up to be an artist, along a path commonly followed by a “visual generation.”

　　When presented in a public space, A Grand Journey to the West goes much further than simply a matter of a personal perception and reception, as, in such a circumstance, it more refers to collective reading experience and social mentality. It is during participating in such collective readings that we get to the heart of the popularity, a phenomenon in the representation of cultures in a consumer society. All objects and images herein are the things that make up the portrait of this world of consumption. In Wang Jing’s art, we can also witness the inroad of pictorial consumption intoeveryday field of life.

　　As also an acute social observer, the artist focuses sharply on the dilemma and anxiety in this transitioning society, and exposes his findings on the ground of the contemporary visual experience of his own. However, as it is, the interpretation of both his and his generation’s pictures is just started to begin.