（What does not resemble resembles all themore-By Leo）
伴随着人类科技的飞速发展，地球上人与人之间的距离越来越近，地球村的概念为大众广泛接受，相反，当代艺术将不再是简单反映全球主义的乌托邦思想，以中国为代表的亚洲新经济体的快速发展，中国当代文化艺术在跟随西方之后，怎样走出自己民族特质的当代性是眼下急需解决的重要课题。
中国当代艺术经历30年的高速发展，正逐渐摆脱简单的盲从和取悦西方的路径，一种扎根传统，强调本土化，同时又具有国际视野的作品才符合当下的中国当代艺术语境。彭小佳的作品正好符合上述这一特质，他的作品趋于表现日常性和现实抒情性两方面。塑造腔肠虫的形象是具有白石老人描绘虾、虫一样的现实主义情怀，同时又显现出荒诞和戏剧性，荒诞的物象使视觉迷失在一种既熟悉又陌生的假定的美学视域之中；少女写生没有艳俗的活色生香，无关社会的世态炎凉，触及到的是人性的内部，祛除表面的琐碎细节，像是一种内在力量的抒发和制造。它不是符号政治化的表现和道德观念化的移植，而是一种简单直白的现实抒情表达，一切都是显得那么朴实无华。
彭小佳的作品包含着人与自然的同一性，彭小佳将自然生物与人统一在共同的价值体系中，试图在此基础上建立特殊的美学形式。他喜欢启发观者去发现那些不起眼的物体，无论是细小的豆荚或是生物工厂里生产出的腔肠虫，人与物体不再是对立的。腔肠虫对于彭小佳而言不是低级的、固定的、微弱的，彭小佳的作品中腔肠虫的形象是既概括又缺失的，这样结实硬朗的具体物体反而会产生极简和抽象的意味。腔肠虫在被肯定的同时也暗含着某些不确定的因素，在不确定中确定的形象常常会显得莫名其妙。这些充满生命力的几何团块是那么饱满、完整而又简洁、纯正。彭小佳在塑造它们时并未深究人类伦理学的造物，关注的是造型是否赋予张力达到了言简意慨。这一点象是中国古代禅意的水墨简笔画一样，洗简有力，直摄观者内心深处。在一种类似文人画一样的自娱的创作方式下达到如石涛在题画诗中谈到的“不似之似似之”。同时也印证了西方当代艺术中所强调的直接性，足以抓住我们的注意力，并使观者为它产生不断的思考，更为它着迷。你会暗自吃惊这么简约有力的形象已经锁住你最初的电击般的视觉感受。
女人体在彭小佳的创作中弱化了人体形象的准确性和差异性，展示给我们的只是这些女人的身体姿势，把这些身体姿势塑造成纪念碑式似的。她们身体之间的差异性被她们“心理表情”的同质性抹平了。每一个局部细节和主体形象具有同等的表现力。细致入微的触摸是在彭小佳的创作中获得了和谐、平衡的完整表达。但是在这种看似完整的表面形态下，又隐藏着一丝莫名、暧昧的能量，彭小佳尽可能地将此能量消解于塑造的女性身体的局部当中，作品以古朴的像文物似的特质显现在我们眼前。透过每一刀、每一笔，手缓慢的触摸着对象的表面，感觉到由内部从肌肉到骨骼再到精神，气息被逐渐揭示出来，完整、饱满而又实在。
强调直线和直角的重要性是彭小佳的作品中值得注意的看点，腔肠虫被切割成极其简单的机械形体，充满后工业时代的气息。即使是女人体的曲线也似乎是用许多直线切割而成的。彭小佳的作品中略显僵直的形象具有叙述的克制力量，这种力量也许来源于塞尚，但更多让我们感受到的是秦汉时期雕塑中透露出朴拙生掘的张力。
最近，彭小佳创作了一系列的黑白版画。这批版画是以一种最大限度的自由，运用生掘有力的刀法，以及那种反差最大、最具力量感的表达方式刻画的。作品的精神指向和他的其他创作如出一辙。腔肠虫被完全几何化了，切割的直角和黑白的对比改变了腔肠虫的生物属性，使腔肠虫异常坚硬，这和完全独立的形式的美学超越性联系起来，刺激着观者的视觉神经。空间上不拘一格，笔触十分突出，犹如青藤、八大的简笔画，同时也具有西方的存在主义、表现主义的手法。林风眠曾经讲过：“绘画不分东西”。这一点我们在彭小佳的作品中非常容易发现。
彭小佳在创作中有意结束了中国当代雕塑中常触及的叙事性、象征性和隐喻性在其作品中的位置，他感兴趣的是纯粹物象的基本因素如何在新的雕塑语言中达到自足的地步，进而形成独立的完整性。他善于用独特的视角挖掘事物“内部”的感觉能力，敢于对物象进行尝试性的考察，将其转化为作品中许多不同凡响的样式和形象。值得我们关注的是彭小佳的作品中喷涌着两股惊人的力量：一股是来自秦汉甚至更早时候的中国深沉的历史感和远古的力量感，大气磅礴；另一股力量来自于当代，基于当代东西方交汇的人文情怀波涛暗涌。传统与当代的交融，东方与西方的撞击，形成了彭小佳自己的绘画和雕塑，这是彭小佳的作品中不可忽视的特质。
彭小佳生于中国，在中国受到良好的学院教育，但在更长的时间里，他生活在美国，过着恬淡的乡村生活。当我们聆听阿炳二胡弦上飘扬的《二泉映月》，或是阅读鲁迅笔下的《社戏》时，我们不能无动于衷。文以载道，当代艺术也是同样的道理，它需要具有独创精神和高尚品格的人来承担。彭小佳为人低调，胸怀宽广，生活简朴。每日沉迷于艺术创作之中，他在美国过着半隐居式的现代文人生活。彭小佳的作品已经摆脱人本主义的束缚,透析出对现实生活崭新的解读。他自觉地游离于中国当代雕塑流行形态之外,为我们展示了独具特色的当代视觉创作方向。
As rapid development of technology, the distance between people on earth getting closer, the concept of global village is accepted by general public. On the contrary, contemporary art is no longer simply reflected the utopian ideology of globalism , The Asian body of the new economy leading by China is rapidly developing. After Chinese contemporary arts and culture following the lead of the West, how walk out of the contemporary of their national characteristics is the important issue to be solved right now.
Chinese contemporary went through 30 years of rapid development, It is gradually emerging from the path of simple blind obedience and please the West, one rooted in tradition, emphasizing localization, at the same time work with the international perspective is consistent with current context of Chinese contemporary art. Peng Xiaojia"s works fit the character of it, and his works tend to show the both of daily performance and real lyricism. The cavitary image of his creation is likes Qi Baishi"s works of shrimp, worms, the real sentiments, at the same time show the absurdity and the dramatic, absurd visual images to be lost in a familiar yet strange sight among the aesthetic assumptions; girl sketch no flashy Live Flesh, unrelated to social inconstancy of human relationships, but touch to the interior humanity, wipe the surface of the trivial details, like an inner strength to express and create. It is not a symbol of political and moral values of the performance of the transplant, but a straight forward reality of lyrical expression, everything seems so plain.
Peng Xiaojia"s works includes the identity of man and nature, he united the natural biological life and man into a common value system in an attempt to establish the basis of this particular aesthetic form. Peng Xiaojia likes to inspire viewers to find those obscure objects, both small pods or cavitary produced in biological factories, people and objects are no longer antithesis. Cavitaries are not low-level, fixed, weak for Peng Xiaojia, to the contrary, the image of cavitary in Peng Xiaojia"s works is summarized and deficiency, so strong but tough specific objects will engender very simple and abstract meaning. As Peng Xiaojia"s description: " a cavitary have no eyes, no nose, no ears, no brain, no legs, but empty digestive system, self-expansion, grimace in pain, insufferably arrogant". Cavitaries implied uncertainty while they are considered, the determined images in uncertainty often seem inexplicable. Geometry of these clumps is full of vitality is so full, complete, yet simple and pure. When they was created, Peng Xiaojia did not get to the bottom in shaping the creation of human ethics, his concern is whether the simple tension given shape in reached brief and to the point. This is like a Chinese ink stick figure, like the ancient Zen, washing simple and powerful photo viewer deep inside straight. Literati painting in a similar same manner to the creation of self-entertainment, such as Shi Tao"s poem about the painting "not like the like may be shared." Also confirmed by Western contemporary art in the direct of stress, enough to seize our attention, and to keep the audience thinking it produces more it fascinated.
You will secretly surprised by that so simple and effective image has been locked your initial shock-like visual experience. Female body in Peng Xiaojia"s creation, the accuracy and differences of image was weakening, showing us only the women"s body posture, he portray body posture to create somnething like a monument. The difference between their bodies was smoothing by the homogeneity of their "psychological expression". Each local detail and the main image have same expression. Nuanced touching won harmonious, balanced and complete expression in Peng Xiaojia"s works. But under the seemingly complete surface morphology, also hidden trace of inexplicable, ambiguous energy. Peng Xiaojia tried to clean up this energe in the part of female body as much as possible. while the series works of female body which have its idiosyncrasy something like cultural relic, to appear in front of us, they looks so thick and heavy, so simplicity. Through each of knives, each a hand, feel author"s hand slowly touching the surface of an object, feel the muscles to the bone from the inside and then to the spirit, atmosphere is gradually revealed, she complete, plump and verily.
recently, Peng Xiaojia has created a series works of black and white prints. He used health dug powerful knife and turn of expression of maximum freedom, and maximum contract to create these works. the spirit direction of works is similar to Peng Xiaojia"s other creation. Cavitaries is complete geometrization and is cut into right angle, and black and white contrast of the cavity changes the biological properties of intestinal worms, cavitaries hard to chamber, and links with the transcendence of forms aesthetic, stimulate the audience"s optic nerves. Space eclectic, very prominent strokes, Like the ink paintings of ivy, Ba Da Shan Ren, meanwhile there are also the approach of Western existentialism and expressionist. Lin Fengmian once said: "The drawing regardless of anything about Western or Eastern." We can easily find out this in Peng Xiaojia"s works.
Peng Xiaojia intented to avoid the narrative, symbolic and metaphorical in position of his works. What he interested in is how the pure images of the fundamental factors reached the point of self-sufficiency in new language sculpture, then formed the integrity of independent. He was good with a unique perspective to dig the esthesis of things "inside", dare to do trial creation on images, transformed it into many extraordinary styles and images. To deserve our attention is the amazing power of two shares: one come from Qin Han, even earlier Chinese dynasty, the other is come from contemporary, which based on the real cultural feelings of the meeting of contemporary western and eastern. The blending of tradition and contemporary, the impact of western and eastern formed Peng Xiaojia"s painting and sculpture, this is the speciality which can not be neglected. Peng Xiaojia was born in China, had a good college education. 20 years ago, he moved to in the United States. He is living in Boston suburbs having a tranquil village life. When we listen to Ar Bing"s erhu strings flying "the Moon over a fountain" or read Lu Xun"s "Play," we can not remain indifferent. Text can carry priciple , contemporary art is also the same, it needs to have the spirit of original creation and the persons of nobility to undertake. Peng Xiaojia is a low profile, broad-minded, lives a simple life. He addicted to art daily, and that he lives a semi-seclusion in the United States having a modern cultural poerson"s life. Pengxiao Jia"s works have been out of the shackles of humanism, reveal the new interpretation of real life. He consciously divorced from popular contemporary sculpture form, to provide for us a unique creative direction of contemporary visual.
伴随着人类科技的飞速发展，地球上人与人之间的距离越来越近，地球村的概念为大众广泛接受，相反，当代艺术将不再是简单反映全球主义的乌托邦思想，以中国为代表的亚洲新经济体的快速发展，中国当代文化艺术在跟随西方之后，怎样走出自己民族特质的当代性是眼下急需解决的重要课题。
中国当代艺术经历30年的高速发展，正逐渐摆脱简单的盲从和取悦西方的路径，一种扎根传统，强调本土化，同时又具有国际视野的作品才符合当下的中国当代艺术语境。彭小佳的作品正好符合上述这一特质，他的作品趋于表现日常性和现实抒情性两方面。塑造腔肠虫的形象是具有白石老人描绘虾、虫一样的现实主义情怀，同时又显现出荒诞和戏剧性，荒诞的物象使视觉迷失在一种既熟悉又陌生的假定的美学视域之中；少女写生没有艳俗的活色生香，无关社会的世态炎凉，触及到的是人性的内部，祛除表面的琐碎细节，像是一种内在力量的抒发和制造。它不是符号政治化的表现和道德观念化的移植，而是一种简单直白的现实抒情表达，一切都是显得那么朴实无华。
彭小佳的作品包含着人与自然的同一性，彭小佳将自然生物与人统一在共同的价值体系中，试图在此基础上建立特殊的美学形式。他喜欢启发观者去发现那些不起眼的物体，无论是细小的豆荚或是生物工厂里生产出的腔肠虫，人与物体不再是对立的。腔肠虫对于彭小佳而言不是低级的、固定的、微弱的，彭小佳的作品中腔肠虫的形象是既概括又缺失的，这样结实硬朗的具体物体反而会产生极简和抽象的意味。腔肠虫在被肯定的同时也暗含着某些不确定的因素，在不确定中确定的形象常常会显得莫名其妙。这些充满生命力的几何团块是那么饱满、完整而又简洁、纯正。彭小佳在塑造它们时并未深究人类伦理学的造物，关注的是造型是否赋予张力达到了言简意慨。这一点象是中国古代禅意的水墨简笔画一样，洗简有力，直摄观者内心深处。在一种类似文人画一样的自娱的创作方式下达到如石涛在题画诗中谈到的“不似之似似之”。同时也印证了西方当代艺术中所强调的直接性，足以抓住我们的注意力，并使观者为它产生不断的思考，更为它着迷。你会暗自吃惊这么简约有力的形象已经锁住你最初的电击般的视觉感受。
女人体在彭小佳的创作中弱化了人体形象的准确性和差异性，展示给我们的只是这些女人的身体姿势，把这些身体姿势塑造成纪念碑式似的。她们身体之间的差异性被她们“心理表情”的同质性抹平了。每一个局部细节和主体形象具有同等的表现力。细致入微的触摸是在彭小佳的创作中获得了和谐、平衡的完整表达。但是在这种看似完整的表面形态下，又隐藏着一丝莫名、暧昧的能量，彭小佳尽可能地将此能量消解于塑造的女性身体的局部当中，作品以古朴的像文物似的特质显现在我们眼前。透过每一刀、每一笔，手缓慢的触摸着对象的表面，感觉到由内部从肌肉到骨骼再到精神，气息被逐渐揭示出来，完整、饱满而又实在。
强调直线和直角的重要性是彭小佳的作品中值得注意的看点，腔肠虫被切割成极其简单的机械形体，充满后工业时代的气息。即使是女人体的曲线也似乎是用许多直线切割而成的。彭小佳的作品中略显僵直的形象具有叙述的克制力量，这种力量也许来源于塞尚，但更多让我们感受到的是秦汉时期雕塑中透露出朴拙生掘的张力。
最近，彭小佳创作了一系列的黑白版画。这批版画是以一种最大限度的自由，运用生掘有力的刀法，以及那种反差最大、最具力量感的表达方式刻画的。作品的精神指向和他的其他创作如出一辙。腔肠虫被完全几何化了，切割的直角和黑白的对比改变了腔肠虫的生物属性，使腔肠虫异常坚硬，这和完全独立的形式的美学超越性联系起来，刺激着观者的视觉神经。空间上不拘一格，笔触十分突出，犹如青藤、八大的简笔画，同时也具有西方的存在主义、表现主义的手法。林风眠曾经讲过：“绘画不分东西”。这一点我们在彭小佳的作品中非常容易发现。
彭小佳在创作中有意结束了中国当代雕塑中常触及的叙事性、象征性和隐喻性在其作品中的位置，他感兴趣的是纯粹物象的基本因素如何在新的雕塑语言中达到自足的地步，进而形成独立的完整性。他善于用独特的视角挖掘事物“内部”的感觉能力，敢于对物象进行尝试性的考察，将其转化为作品中许多不同凡响的样式和形象。值得我们关注的是彭小佳的作品中喷涌着两股惊人的力量：一股是来自秦汉甚至更早时候的中国深沉的历史感和远古的力量感，大气磅礴；另一股力量来自于当代，基于当代东西方交汇的人文情怀波涛暗涌。传统与当代的交融，东方与西方的撞击，形成了彭小佳自己的绘画和雕塑，这是彭小佳的作品中不可忽视的特质。
彭小佳生于中国，在中国受到良好的学院教育，但在更长的时间里，他生活在美国，过着恬淡的乡村生活。当我们聆听阿炳二胡弦上飘扬的《二泉映月》，或是阅读鲁迅笔下的《社戏》时，我们不能无动于衷。文以载道，当代艺术也是同样的道理，它需要具有独创精神和高尚品格的人来承担。彭小佳为人低调，胸怀宽广，生活简朴。每日沉迷于艺术创作之中，他在美国过着半隐居式的现代文人生活。彭小佳的作品已经摆脱人本主义的束缚,透析出对现实生活崭新的解读。他自觉地游离于中国当代雕塑流行形态之外,为我们展示了独具特色的当代视觉创作方向。
As rapid development of technology, the distance between people on earth getting closer, the concept of global village is accepted by general public. On the contrary, contemporary art is no longer simply reflected the utopian ideology of globalism , The Asian body of the new economy leading by China is rapidly developing. After Chinese contemporary arts and culture following the lead of the West, how walk out of the contemporary of their national characteristics is the important issue to be solved right now.
Chinese contemporary went through 30 years of rapid development, It is gradually emerging from the path of simple blind obedience and please the West, one rooted in tradition, emphasizing localization, at the same time work with the international perspective is consistent with current context of Chinese contemporary art. Peng Xiaojia"s works fit the character of it, and his works tend to show the both of daily performance and real lyricism. The cavitary image of his creation is likes Qi Baishi"s works of shrimp, worms, the real sentiments, at the same time show the absurdity and the dramatic, absurd visual images to be lost in a familiar yet strange sight among the aesthetic assumptions; girl sketch no flashy Live Flesh, unrelated to social inconstancy of human relationships, but touch to the interior humanity, wipe the surface of the trivial details, like an inner strength to express and create. It is not a symbol of political and moral values of the performance of the transplant, but a straight forward reality of lyrical expression, everything seems so plain.
Peng Xiaojia"s works includes the identity of man and nature, he united the natural biological life and man into a common value system in an attempt to establish the basis of this particular aesthetic form. Peng Xiaojia likes to inspire viewers to find those obscure objects, both small pods or cavitary produced in biological factories, people and objects are no longer antithesis. Cavitaries are not low-level, fixed, weak for Peng Xiaojia, to the contrary, the image of cavitary in Peng Xiaojia"s works is summarized and deficiency, so strong but tough specific objects will engender very simple and abstract meaning. As Peng Xiaojia"s description: " a cavitary have no eyes, no nose, no ears, no brain, no legs, but empty digestive system, self-expansion, grimace in pain, insufferably arrogant". Cavitaries implied uncertainty while they are considered, the determined images in uncertainty often seem inexplicable. Geometry of these clumps is full of vitality is so full, complete, yet simple and pure. When they was created, Peng Xiaojia did not get to the bottom in shaping the creation of human ethics, his concern is whether the simple tension given shape in reached brief and to the point. This is like a Chinese ink stick figure, like the ancient Zen, washing simple and powerful photo viewer deep inside straight. Literati painting in a similar same manner to the creation of self-entertainment, such as Shi Tao"s poem about the painting "not like the like may be shared." Also confirmed by Western contemporary art in the direct of stress, enough to seize our attention, and to keep the audience thinking it produces more it fascinated.
You will secretly surprised by that so simple and effective image has been locked your initial shock-like visual experience. Female body in Peng Xiaojia"s creation, the accuracy and differences of image was weakening, showing us only the women"s body posture, he portray body posture to create somnething like a monument. The difference between their bodies was smoothing by the homogeneity of their "psychological expression". Each local detail and the main image have same expression. Nuanced touching won harmonious, balanced and complete expression in Peng Xiaojia"s works. But under the seemingly complete surface morphology, also hidden trace of inexplicable, ambiguous energy. Peng Xiaojia tried to clean up this energe in the part of female body as much as possible. while the series works of female body which have its idiosyncrasy something like cultural relic, to appear in front of us, they looks so thick and heavy, so simplicity. Through each of knives, each a hand, feel author"s hand slowly touching the surface of an object, feel the muscles to the bone from the inside and then to the spirit, atmosphere is gradually revealed, she complete, plump and verily.
recently, Peng Xiaojia has created a series works of black and white prints. He used health dug powerful knife and turn of expression of maximum freedom, and maximum contract to create these works. the spirit direction of works is similar to Peng Xiaojia"s other creation. Cavitaries is complete geometrization and is cut into right angle, and black and white contrast of the cavity changes the biological properties of intestinal worms, cavitaries hard to chamber, and links with the transcendence of forms aesthetic, stimulate the audience"s optic nerves. Space eclectic, very prominent strokes, Like the ink paintings of ivy, Ba Da Shan Ren, meanwhile there are also the approach of Western existentialism and expressionist. Lin Fengmian once said: "The drawing regardless of anything about Western or Eastern." We can easily find out this in Peng Xiaojia"s works.
Peng Xiaojia intented to avoid the narrative, symbolic and metaphorical in position of his works. What he interested in is how the pure images of the fundamental factors reached the point of self-sufficiency in new language sculpture, then formed the integrity of independent. He was good with a unique perspective to dig the esthesis of things "inside", dare to do trial creation on images, transformed it into many extraordinary styles and images. To deserve our attention is the amazing power of two shares: one come from Qin Han, even earlier Chinese dynasty, the other is come from contemporary, which based on the real cultural feelings of the meeting of contemporary western and eastern. The blending of tradition and contemporary, the impact of western and eastern formed Peng Xiaojia"s painting and sculpture, this is the speciality which can not be neglected.Peng Xiaojia was born in China, had a good college education. 20 years ago, he moved to in the United States. He is living in Boston suburbs having a tranquil village life. When we listen to Ar Bing"s erhu strings flying "the Moon over a fountain" or read Lu Xun"s "Play," we can not remain indifferent. Text can carry priciple , contemporary art is also the same, it needs to have the spirit of original creation and the persons of nobility to undertake. Peng Xiaojia is a low profile, broad-minded, lives a simple life. He addicted to art daily, and that he lives a semi-seclusion in the United States having a modern cultural poerson"s life. Pengxiao Jia"s works have been out of the shackles of humanism, reveal the new interpretation of real life. He consciously divorced from popular contemporary sculpture form, to provide for us a unique creative direction of contemporary visual.