2003 年我完成了以《最后的晚餐》为模本的
SANJIE，其实那个时候我就有做今年的这一系列作
品ONE DAY IN 2004 的计划。在SDANJIE 中我有
过这样的一段文字描述：“红领巾、白衬衣这是五十年
代、抑惑是七十年代的象征，” 实际上今日的中国它仍
然是一个鲜明的符号。对我而言，红领巾是一段记忆，
是一个年龄段的标志，有对荣誉的渴望，有受到先烈
之血激励的激动与不安，更有对个人与集体关系的确
认、疑惑与追问？而白衬衣永远那么白，在梦里它也
那么白，构成了对不那么白的压力，历史的色彩再淡化，
人在生长，记忆变得不可信。关于《最后的晚餐》人
们总是问哪个是犹大？我相信犹大就是我们自己，我
年龄越大越知道人要多单纯就有多单纯，要多复杂就
有多复杂。现在我把儿时的单纯作为圆点，把成长的
过程去掉，让少女直接承载历史的结果，让她在分裂、
同一、嬗变复制中去平衡自己吧。
而ONE DAY IN 2004 依然延续了SANJIE 某些外在
形式和内在心理的部分特征，不同的是它更加的难于
用文字或语言来表述了。她-——那个小女孩，更内在、
更隐私、更精神化，继续承载了我们的记忆，像是历
史镜头的再回放，一切似乎都在记忆中，却又与我们
的现实离的那么近，她似乎就是在我们的身边不知不
觉中渐渐的变化着成长着，她很抽象、又很具体，而
我与她的关系，即统一又分离，我会陷在我记忆的逻
辑关系里，看着她的成长，我常常恍惚在我和她之间。
她和她的记忆，我对她的感知，如抽象的记忆被抻长了。
这是两条线索，两个生命轨迹，分别在我和小女孩的
记忆中。
红墙、白衬衣、红领巾、蓝格裙间或会勾起我的某种
记忆舆情绪，红墙大到可以承载一个民族的历史，小
到可以记忆一个个人的记忆舆情绪，红墙在我的不同
年龄段的意义也不同，它有时很高大丰厚、有时很渺小、
薄弱不堪一击，而天安门在我们民族的历史上它就是
一个古老的建筑，我们为何不能像看待任何一个古老
的建筑一样来看它呢？

“SANJIE”is a composite art work created with
three methods - oil painting, photograph, and
video. The subject is the same: a young Chinese
girl, wearing red scarf (symbol of a member of
Young Pioneer Group), playing the thirteen figures
of the Last Supper. It took me nearly a year to
complete the work, but the deliberation process
took years before that. The oil painting was
completed the first. During the Chinese new year
of 2003, I took quite a lot of pictures and stayed
at home doing the painting. When the painting
was done, SARS had come an epidemic. Ignoring
the warnings, I went out frequently and finally
completed the photograph and video part of the
production in September 2003. Red scarf, white
shirt, they signify the period from the 1950s all the
way to 1970s. Indeed, the symbols remain powerful
to this day.
To me, red scarf represents a period in my
memory, a mark of belonging to a certain
generation, the desire to gain honor, the exciting
and yet unsettling sentiment of being urged on by
the martyrs who created the People's Republic,
and even more so, the doubt and quest to identify
the relationship between individual and group.
The white shirt was always so white, white even in
dreams, and yet it also created the pressure that
was not exactly so white and pure. The color of
history is fading, people age, memory becomes
vague and unreliable. In the Last Supper, people
always ask which one is Judas. I believe that Judas
is each and everyone of us. As I grow older, I know
more clearly that people can be naive and simple
as they can be, and as complicated as they can be.
Now I go back to the innocence of the youth as
the source. Erase the whole process of growing up.
Let the girl bear the consequence of history. Let
her balance herself in the process of breaking up,
converging, evolving, and duplicating.
“One Day in 2004” picks up some of the elements
in Sanjie, both in external form and internal psyche.
The difference is that“ One Day in 2004”is even
harder to describe in words. She, the young girl, is
now more introverted, more private, more spiritual.
She continues to bear our memory, like a replay
of historical images. It is as if that everything had
been left to memory, but at the same time hovering
around us nearby. She seems to be changing
and growing up around us, yet we are unaware.
She is abstract and yet real. My relationship with
her is unified and yet separate. Watching her
grow up, I am often lost in the logical relationship
between me and her – her in me and me in her.
My senses about her and my relationship with her
have become elongated like an abstract memory.
These are two threads, two paths of life, both in
my memory and the girl's Red wall, white shirt, read
scarf, blue-checkered skirt. They occasionally bring
up a particular kind of memory and sentiment. Red
Wall might be big enough to bear a nation's history,
and small enough for one person’s sentiment.
During different period of my life, it has different
meanings. Sometimes it stands strong and tall.
Sometimes it is weak and fragile. The Gate of
Tiananmen, it is merely an ancient building in our
nation's long history. Why can we just look at it like
any other ancient building?