余萍的《梦游》系列，恐慌、无奈、怀疑、无聊的现代人梦游在诗情画意中，对精神家园的渴望使人心变得更加彷徨。

——摘自夏梓《循着“七.拍”的声音》

2009年4月于湖北美术馆

     In the Sleepwalking Series of  Yu Ping,panicked, helpless, incredulous and the bored modern people sleepwalk in poetic romance, suggesting that longing for spiritual home makes the popular feeling even more anxious.

　　Zi Xia

　　Selected from "Follow the Voice of  <Seven. Beat> "

　　April 2009 at Hubei Museum of Art

　　相比《天堂密码》中画面形式上灵与肉的冲突，在作者的《梦游》系列中，已经获得成功解决。余萍从传统绘画中汲取灵感，借鉴水墨艺术的构图、造境等经典手法，使画面简洁轻盈，意趣盎然。表达上也更成熟自信。借“梦游”之名，而使灵魂无所羁绊，既是灵魂摆脱肉体的最好理由，也是反观存在、反观人世、反观自身、反观传统的极佳角度。这种人文诗意境像，意欲唤起人们对精神生存的觉醒、对精神家园的向往与追求。饱含着作者对当下物质丰富精神匮乏之反差思考。人类何时才能“诗意地栖居大地”？

——摘自娄毅“边缘化言说的力量”

华南师范大学教授

　　Compared with the conflict of soul and body in Paradise Code, the conflict is successfully soluted in the artist's Sleepwalking series. Inspired in traditional Chinese paintings, Ping Yu adopts the  compositional sketch and other techniques of ink and wash art, makes the image concise and vivid, and expresses in a more mature and confident way. By “sleepwalking” ,the soul is set free , and this is the best of the soul to extricate from the body, and also a good angle to see the world, oneself and the tradition. This humanistic artistic conception is aimed to arouse people's conscience of spiritual existence and the pursuit of spiritual home. The paintings are full of artist's thoughts on the current situation of rich in material while poor in spirit. When can humans really “perch on this land poetically” ?

　　Yi Lou

　　Selected from "Marginalization of  the Power of Speech"

　　Professor of Huanan Normal University

　　余萍读大学时学的是油画，读硕士时的研究方向是中国画。由于她能结合个人的独特感受，进而有机地将传统中国画的作画方式与西方新表现主义的作画方式相嫁接，所以形成了具有个人特点的艺术风格。这一点也使她的绘画具有本土价值、鲜活性与感染力。对此，我是极为肯定的。

　　我注意到，在余萍的近作中，大致有两类艺术符号：一类是通过借鉴中国山水图式画出的风景；另一类则是借鉴西方新表现主义风格画出的“梦游人”。在这里，前者既象征自然本身，又象征着古代文人的生活境界。而后者无疑象征着大写的“自由人”。当这两者以超现实的状态相聚时，不仅巧妙地暗示了人在当下现实中的无奈、困惑与迷茫，也很好地强调了人在本质上对于大自然与精神家园的深情向往。因此给人以深刻的启示。

　　在最近的一系列文章与讲演中，我反复指出了话语方式对于艺术家的重要性。余萍的作品又一次给我提供了有效的证据，那就是：只有当一个艺术家以个人化的语言方式提示艺术观念时，其艺术观念才是存在的，否则，只能算是对于以往艺术大师的模仿而已。

鲁虹

2009年4月20日于深圳美术馆

　　Majored in Oil Painting in University and later specialized in Traditional Chinese Painting in Graduate School, Ms. Yu, Ping is talented in expressing her unique artistic sense and fashioned a style of her own in using a combined form of Traditional Chinese Painting and Western New-Expressionism. As it in my eyes, I treat highly of the valuable local distinctiveness, the intensive vigor and impressiveness of her works.

　　Two signs of artistic trend have I noticed from her recent works： the natural scenery being portrayed through the form of Traditional Chinese Painting, and the "Dream Seeker" being highlighted in the style of Western New-Expressionism. The former one, I think, represents not only the Nature itself, but the state of living of ancient intellectuals, while the latter one clearly symbolizes "Free Man". When the two signs were combined ingeniously, what they have achieved in expressing is not only the helplessness, perplexity and confusion of modern man, but also the man's substantial yearning for an ideal natural and spiritual world.

　　I have, in a series of my recently articles and lectures, pointed out "the importance of ways of discourse to an artist", and Ms. Yu Ping's works have again provided me an sufficient evidence for that point： only when the artist projects his/ her artistic conceptions in a specialized personal way, shall the concepts truly exist, otherwise they are merely imitations of former masters'.

　　Lu Hong

　　April 20, 2009  Shenzhen Art Museum