南方近期的视觉图像选择更明确，更凸现了他的一种日常经验。充斥整个画布的是孩子的那纯真浪漫虚幻迷离恍兮惚兮的巨大的面孔，让我们清晰地洞察到一种关于孩子的幸福成长故事在视觉上的讲述方式，它重新把观者召唤回到他们的童年回忆中，但不可否认的是童年的记忆又是碎片的，片断的和非线性的个人化，但它无疑都是真实的，幸福的，是发自内心深处的一种幸福的彰显，表露出当代社会形态和个人小家庭，尤以三口之家为定式的那种幸福感的生存情态。至此，南方由过去对"自我"的历史叙述及"自我"存在的虚无感的表达中，转而更加强调自我在都市化生存实境中的感受和对变幻莫测的未来世界的一种精神想像，这些充满着离奇怪诞的想像，既生动鲜活地反映了我们现在和未来的社会生活，又表达出了南方这一代人对属于他们的那个虚拟世界的狂喜与迷恋。而伴随着南方的这种个人化的叙事，也为多元化的中国当代艺术生态提供了进一步发展的可能性。南方由此在语言上完成了一次自我视觉形式上的超越。并最终找寻到了一种明确、明朗的个性化的语言表达方式，从而带给人们一种无尽的关于未来的幸福想像。

　　　　冀少峰

　　It is very clear in Nanfang's choice on recent visual image. It highlights his daily experiences. The entire canvas is filled with gigantic face of child which is pure, romantic, fantastic but indistinct. It can give us a visual way of telling a story about the growing-up in happiness and bring the viewer back to their own memory of childhood. It is an undeniable fact that the memory of childhood is fragmented, broken and non-linear, but it is real and happy, generated from deep heart. It reveals the contemporary social forms and one's own family, especially the status of the majority of nuclear family. At this point, Nanfang has turned from the historic narrative way and the expression about the sense of emptiness on 'self' to the emphasis on the feeling about the survival situation during urbanization and the spiritual image to the bizarre future. This bizarre imagination not only reflects the social life of our current and future, but also expresses his generation's ecstasy and obsession to the virtual world. Accompanied by Nanfang's personal narrative way, it offers the possibility of further development for Chinese contemporary multi-art environment. As a result, Nanfang has accomplished self-transcendence on visual forms and find a clear, bright and personal way of language expression. It brings us endless imagination on well-being in the future.

　　Ji Shao-Feng