“我开着船经过一片海域，船触到一块礁石，处理完安全隐患后，在航海日记里写下——关于礁石这件事。收音机里播报着陆地上的新闻，以及家人与朋友的留言，此时我将礁石与他们联系在了一起，海如同神话一般再现了彼方的一切。”
张炜在这一系列作品中以他童年生活的海边图景为锚点，展开了神圣与世俗之间的对话。流浪者能否依托自己的叙述，像诗人寻找词语那般看见自己的神话？这不能完全依赖于言语的解释。画面元素综合的氛围激活了个人内在的神话主题，精准到位的笔触是诗人追溯的开始，色彩经过色块之间精准把握和提纯，仿佛嵌在神殿墙壁上极简通透的玻璃罩面，被海水冲洗过的场景，蒙着海的瑰丽色调，人是纯粹永恒的塑像。
“I was sailing through a stretch of sea when the ship hit a reef. After dealing with the potential safety hazard, I wrote in my nautical journal about the incident of the reef. The radio was broadcasting news from the land, as well as messages from family and friends. At that moment, I connected the reef with them. The sea, like a myth, reproduced everything on the other side.” In this series of works, Zhang Wei takes the seaside scenes of his childhood as an anchor point and initiates a dialogue between the sacred and the secular. Can a wanderer, relying on his own narrative, see his own myth just as a poet searches for words? This cannot entirely rely on verbal explanations. The comprehensive atmosphere of the picture elements activates the personal inner mythological theme. The precise brushstrokes mark the beginning of the poet's tracing. The colors, through precise control and purification between blocks, are like the extremely simple and transparent glass coverings embedded on the walls of the temple. The scenes washed by the sea are covered with the magnificent colors of the sea, and the people are like pure and eternal statues.
回顾张炜此前的个展“离魂”，能够发现其创作风格与主题的延续性。“离魂”以布面丙烯的广角场景与复合媒介的片段叙事，通过紫色与绿色等强烈色彩的独特运用、蛇与骨骼所蕴含的生死隐喻等，展现对生死、存在经验等主题的思考。而在“双生海”中，艺术家又一次进入了“内在的流浪”，并退而观之当世的大环境中，人们的“精神流浪”。自我、家、信仰的失联，乡音渐失，族人难寻，眼前唯有杂多聚合的混合体，艺术家试图为这些与自身相关的世俗景象与感悟重新赋予隐喻，“双生海”---流浪地图的一隅，试图构建起与观众对话的回廊。
Looking back at Zhang Wei's previous solo exhibition “Departed Soul”, we can find the continuity of his creative style and themes. “Departed Soul” uses the wide-angle scenes of acrylic on canvas and the fragmentary narrative of composite media. Through the unique use of intense colors such as purple and green, and the life-death metaphors contained in snakes and bones, it shows the thinking on themes such as life and death, and existential experiences. In “The Twin Seas”, the artist once again enters “inner wandering” and, looking at the general environment of the present world, observes people's “spiritual wandering”. There is a disconnection between the self, home, and belief. Native accents are gradually disappearing, and clan members are hard to find. All that can be seen is a complex mixture of various things. The artist tries to re-endow metaphors to these secular scenes and insights related to himself. “The Twin Seas”, as a corner of the wandering map, attempts to build a corridor for dialogue with the audience.
在“双生海”中，张炜延续了对内心世界的挖掘，将个体经验与哲学思考融入作品。正如艺术家本人所说，绘画是他锚定内心的方式，而“双生海”无疑是他内心世界的一次深刻映射，将成为其艺术旅程中的重要驿站，也向外传递一种内在探索的可能。
In “The Twin Seas”, Zhang Wei continues to explore the inner world, integrating personal experiences and philosophical thinking into his works. As the artist himself said, painting is his way of anchoring his heart, and “The Twin Seas” is undoubtedly a profound reflection of his inner world. It will become an important stop in his artistic journey and also convey the possibility of inner exploration to the outside world.
