与所呈现出的画面表象相反，王家增的作品有着诸多的抽象的灵感。比如画面的背景处理，是一个很好的佐证和抽象应用手法。首先是颜色的选择，整个作品色调为灰暗的工厂环境，背景图案是天地一体的灰暗，浓重的工业氛围立即显现出来，这个色调确定后在整个创作过程中一直使用。其次是覆盖整个画板的颜色涂抹方式，让画笔的运动轨迹显现在画布上，看似十分随机，却是理解作品审美内在涵义的一个关键点。

　　图形的处理，感觉就像在这个背景前面，运用连续涂抹方式所勾勒出来的几何图形，这些图形形成了整个的建筑、承载建筑的空间，但是这一切都不是具体而精确的，始终保留着象征性的抽象几何空间划分的感觉。

　　在这些几何空间划分的前边，又出现了更精细的图案——工厂的工人形象、铁盒子和厂房。

　　透过这些连续的视觉层次，我们看到画面形成的几个不同阶段：背景抽象化、覆盖之上的模糊几何形状和前边更具体的人物。在这之后的最后一步，艺术家再次运用了背景绘画的画笔随机涂抹方式，这次的涂抹不仅增加了整个气氛的渲染，而且让具体的形象变得抽象而模糊。如同增加了一层面纱，前边具体的人物形象被溶解掉了，退色了，消失在整个的画布氛围当中。这种人物形象符号化的处理方式，抹掉了人性特征，变成一个模糊的物件摆放在盒子里边。

　　王家增的作品围绕着一个象征性的元素展开，却又超越了简单的象征意义的概念。盒子形状的车皮和货车所承载的货物在这里变成了人。人在这里取代了产品货物，这是王家增想要解读的一个象征性的点，他表现了一种对于将人当做生产线的一部分的产品世界的批判，和对社会现实主义价值观和当代资本主义经济规律的反讽。

　　铁皮盒子符号是王家增对工业和当代世界一种讽刺性解读。这个限制了人们生活空间的盒子，是中国发展过程中所造成的现代经济社会生存条件的一种隐喻。50-60年代的中国现实主义绘画表现了人们努力工作、建设国家的人物画面。王家增通过将人物用一种非人性的方式纳入到工业化系统中，对这个时代进行了重新的解读。这种非人性化，人如机器的状况，在作品中将问题和质询带到了我们当代社会。

　　在王家增最初的作品当中，铁皮盒子是一个个性化禁锢的符号，他让我们看到了被动的被安排在指定位置上的人们。在他的最新作品中，情况发生了一些变化，这个盒子看起来拥有了更进一步的象征意义，他成了超越现实主义的符号。例如在作品《工业日记２４１号》中，铁皮盒子飞翔在工业场景之上，画面的几何分布变成两个不同部分，原来与工厂环境紧紧相连的盒子超脱在他的上边，好像是在逃离系统赋予他的角色。色调上增加了明亮的色彩，让人感觉逃离这个备受束缚的环境是完全可能的。这样的场景，也出现在他的近期其他作品里，场景从灰暗的工厂演变成一栋栋房子、汽车，环境逐渐现代化。然而那拴着铁皮盒子的绳索依然没有变，现代化的转变，只是这个权力系统的一种形式变化和禁锢条件的演变，画中的人物始终没有真正摆脱被束缚的非人性化状态。

　　画面人物的历史面孔成为了当代现实世界的一个快照。我们不需要创造一个全新的当代人物，放置于他的最新创作背景当中。不同于如今艺术中喜欢使用当代元素描述当代生活的趋势，王家增不怕不符合潮流，不合乎时宜，他将当代问题的提出放置在一个历史背景下。

　　王家增的作品像一面记忆的镜子，让人看着一个工业时代，却联想到我们所处的年代。没有什么像王家增所描绘的工业世界一样更接近我们的真实状况。当代社会的环境、建筑发生了变化，而人们的真实状态，束缚与挣脱的对抗却始终没变。当代人不经意所遗忘的东西在王家增的作品前被重新提起。

　　王家增的作品关乎一段历史，给置身其中的观者带来的感受，却不是简单面对过去的历程，或者展示过去的生活与传统，而是让当代人面对作品，联想现实，在他所看到的和他所了解的世界之间产生共鸣，进而形成他自己的认知。这样的思考会帮助人们了解所处现状，并激励他选择生活、超越自我。

　　这就为什么说王家增的作品是彻底的当代艺术，他质询现存的深层次问题，他唤醒了当代世界的人们。

中文翻译：王凌云

　　Modernism with a historic touch

　　Ludovic De Vita

　　Wang Jiazeng’s works are enriched by mass of abstract inspirations, as opposite to the image you may observe in the pictures themselves. The background evidenced the application of abstractionism, the selection of colors, the dull gray tone of the factory ambience. The adoption of homo-colored sky-earth background imposes the dense industrial scenario, and the tone has been the dominance throughout the process of creation. In addition, the way that pigments are applied in a full-scale reveals the track of brush movement on the canvas, a seemingly random, yet substantial expression of the artist’s comprehension of aesthetical value in his works.

　　The shapes give you a feeling of geometrical patterns being successively painted in the background to form architectures and the space that platforms them. All those patterns, however, are not concrete, yet maintain symbolic division of geometrical space.

　　Right before the space in question, are more specific images of workers, metal boxes and the workshops.

　　You are going through several visual layers, the abstract background, the blurred geometrical patterns and the people. To finalize the whole works, the artist utilize again the method in background painting, which not only plays up the atmosphere, but hazes the specific images, therefore the figures are no longer clear, they fade out and disappear into the overall atmosphere of the picture. The human figures are codified as lifeless being that are placed into the boxes.

　　Wang Jiazeng’s works always concentrate on a symbol, yet go beyond – box-shaped railway wagons carry humans instead of cargo. The concept of replacing cargo with human interprets Wang’s criticism of modern production line that have turned human being into part of products it makes, and his mockery of realistic value of modern society and capitalist economy.

　　Metal boxes are Wang’s interpretation of industry and modern world as a whole. The box that confines people’s life is a simile of subsistence of people in modern economy during China’s development. In the 1950s and 60s, the realism art works expressed people’s ardor in constructing their motherland. In contrast, Wang incorporates people into the industrial system by deforming their human nature, and consequently interprets this age in a novel manner. Comparison of human with machine in his works is actually an inquiry of the community we are living in.

　　In early works of Wang, he symbolized the boxes as confinement of individuals. He showed us that people are passively arranged at positions. You will notice changes in his new works, further symbolic meaning is given to his boxes – his surpass of realism. In the above works, the metal boxes are hovering over the scene of the factory, and the geometrical patterns are divided into two parts – the boxes that originally interconnected with the factory are now over-hanging, seemingly escaping from the system that endows them the characters. The brightness in tone implies that the escape is possible. Such scene can be captured also in his other new works, evolution of gray factories into buildings, automobiles and modernized environments. However the ropes that tie up the metal boxes remain unchanged. Modernization changes the format of confinement, not the nature of it and the characters in the picture still present deformed nature under such confinement.

　　The historical faces of the characters in the pictures turn to a snapshot of the real world.

　　We don’t need to create a brand new character to fit into his latest works, which is quite different in genre from other modern works that use modern elements to depict new trend of life. Wang doesn’t try to be trendy, in contrary, he put new question in old background for reflection.

　　His works serve as mirror to reflect the process of the industrial age and to arouse our reminiscence of the time we live in. In other words, nothing is more closer to our status quo than the description of his works. As much as the changes that have taken place in the environment, our struggle against confinement remain unchanged, something that we have forgot are touched again by Wang’s works.

　　Wang Jiazeng’s works are about a section of history and what they give us is more than a simple retrospect of what we have experience in the past or a tradition we have lived through. They are about reminiscence of the reality and make us echo his understanding of the world, furthermore he finalizes his cognition. Such reflection will be helpful to our understanding of the status quo and will encourage us to select a path, a way to exceed ourselves.

　　Why Wang Jiazeng’s works are complete modern art. The answer is they enquire the inside issues and awaken modern humans.

英文翻译：马科峰