漂浮的文明踪迹之十 1991 109x79cm
追痕 – 人体 （十一） 2018 79x79cm
追痕 – 环形体 （一） 1991/2017 79x79cm
追痕 – 框架 1 2018 158x158cm
漂浮的文明踪迹之三 1990 109x79cm
此外，他不仅仅就绘画而言绘画，而是把它在装置、观念摄影等前卫艺术上的“独特”思考，融进绘画，从而探索出一条个体化的突破“元绘画”的实践与经验路径。这种跨界所得到的感悟是与传统的单一的职业画家不一样的。正如其言：“我的绘画作品在艺术观念上突出对人类学的关注,强调‘当代形象即历史图像’的理念。作品以纸本为基材,运用水彩、丙烯、水墨等综合材 料,通过堆砌、覆盖、冲刷、渲染、泼洒等综合手法，将具有当代特征的人象、 物象和活动轨迹植入到岩画般的‘遗迹’中,仿佛千万年以后的人们拂开尘埃和污垢后看到的一个场景——通过‘视觉考古学’,从另一个维度发掘当代人的特征、活动轨迹与审美文化信息。”
追痕 – 户外 （周家牌路 1 ） 2018 约 4.5x3m
追痕 – 魔盒 （一） 2018 79x79cm
Ni Weihua，one of the contemporary artists，has the experimental spirit and social criticism. Since the beginning of 1990s， his large-scale action works named Continuously Spreading Event -Red Boxes ，Posters，Linear Cities，etc. has arisen the high focus from the artistic and cultural circles.The intertextuality with social life context of his early works，makes one kind of the heckle and irony to the modern industrialized society tactfully. He becomes one of the most representative artists in 1990s.
Since now from 1998，with the creation of image(photograph and video)，focusing on the key words of the development and harmoniousness in public view and the landscape wall in public space through a particular angle，he realizes his creation reformation on art experiment of cross-culture and cross-ideology successfully.
Ni Weihua’s another series, Tracing, is an extension of his previous experiment in “paintings of remains.” Upon sketching and emphasizing the contours, he wants to highlight the merging of “intentional” and “incidental” clues, and to depict the abstract-expressionist traces through Pop-Art techniques. The essence lies between chaos and serenity, sense and sensibility, nature and humanity, as well as transience and eternity.
Mr Pei Man Yi made the following comment on Mr Ni’s paintings “Tracing Series”.
“Tracing Series, recently created by Ni Weihua, a “veteran emerging astist”, is quite thought-provoking.
He’s merits lie in his keenness which starts from real problems, rather than simply borrowing empty philosophical theories. Since the solo painting exhibition of the New Representation in 1989, although he later mainly engaged in installation and photography and other artistic creation, and made great achievements in the domestic and foreign art circles, but he has not given up painting. I have almost finished appreciating his works in various stages in his studio. My feeling is that he has a solemn path of thinking and criticism for each stage, which is progressive, changing, transforming and elevating from the perspective of conceptual logic. As he said in the Tracing Series, “This series is a re-extension of my painting experiment dubbed ‘remaining traces’. I try to highlight the interaction between artificial and occasional traces through edge depicting, and popularize the traces of abstract expressionism. In this way, a space is created to ponder between wildness and tranquility, sensibility and rationality, nature and humanity, and instant and eternity.
In addition, he not only paints for painting’s end, but also integrates his unique thinking in avant-garde art such as installation and conceptual photography into painting, thus exploring an individualized path bursting out of the practices and experience of metapicture. This kind of cross-school perception is different from that of the professional painters in a traditional sense. As he has said, “My paintings focus on anthropology from the perspective of artistic concepts and emphasize the concept that contemporary images are historical pictures. The works use the paper as the basic material, and implant human figures, objects and activity trajectories with contemporary features onto the traces resembling cliff painting, with watercolor, acrylic, ink and other comprehensive materials, and through stacking, covering, scouring, coloring, splashing and other comprehensive techniques. The images created are as if the first that people see after blowing thousands of years of dust and dirt. Through visual archaeology, I try to explore the characteristics, activity trajectories and aesthetic and cultural information of the contemporary people from another dimension.”
Outdoor painting is very common in the art history and there is nothing unusual. However, the author believes that his shuttling in different art categories has helped to form his unique “super-individualized” cultural consciousness. In particular, his thinking pattern of photography and images seems to make us discover another narrative way of outdoor painting. In this regard, I call it a re-individualized painting consciousness formed after emphasizing social intervention.
In summarizing the process of the logical construction of concepts by Ni Weihua, it can be clearly felt that he has extended Foucault’s knowledge archaeology theory to a larger visual and cultural category of visual archaeology through his own practice. This coincides with the research direction of his several friends in the theoretical circle. For example, Professor James Elkins, E.C. Chadbourne Chair of art history, theory, and criticism at the School of the Art Institute of Chicago, USA. He is a well-known scholar who studies images and visual art. His The Domain of Images and other works have revolutionized the scope and methods of image research. He extends the field of vision to non-artistic images, including science, technology, business, medicine, music, archaeology, etc., thus shifting visual research to non-art fields. Professor Shen Yubing of Fudan University’s School of Philosophy is another example in case. In his latest work Images and Meanings, he focuses on visual archaeology of Jonathan Crary.. Ni Weihua is tacitly connected with them, either in theory or in art practice.
Ni Weihua is a keen observer of the times. In his 30 years of contemporary art creation, he has always maintained a sharpness of criticism, which is commendable. His logical construction path and approach of his artistic concepts also seem to provide a medium of thinking for the creation of contemporary art.