刘礼宾 （中央美术学院博士 批评家）
“天真蓝！？”——这是我在解读葛辉作品时脑海中迸出的一个感叹句兼疑问句——“天真蓝！”、“天真蓝？”
“天真蓝！”——一个质朴而直接的肯定，兼具兴奋情绪的表达，和葛辉作品的纯真、稚拙相契合。葛辉的作品给人的第一印象便是直截了当，浑然天成。葛辉描画对象，总是能凭借直觉抓住人、物给他的直接刺激，并能将这一刺激贯穿于整件作品的创作过程之中。他对第一刺激的信任和坚持，一方面使他在创作时落笔肯定，对对象不做过多的修饰，保持了所描绘对象原初的意趣，传统的绘画技法不再成为艺术家炫耀的资本，反而成为他有意避开的窠臼，技法保持在最低调上，从而和所描绘对象浑然一体。另一方面，在这样的描画中，葛辉本人的纯真天性暴露无遗，从画面可以意会到他现实中乐观爽朗的个性，随遇而安的处事态度，没有纠结的纯洁心底。只有葛辉这样艺术家才会这样画，这样表露自己，就像他能看到蔚蓝色的天空，并能直抒胸臆：“天真蓝！”看似简单的“看到”并不容易，看似简单的“直抒胸臆”，磕磕绊绊太多。现实中的大多数人看不出天是蔚蓝的，或者没有时间看，即使看到了，也不敢那么直白的表述，因为那样显得外露而简单，并不符合含蓄隐晦、复杂多变的原则。何况葛辉说的不是天的“蓝”，而是说的年轻人青春期的迷茫、处境的尴尬、欲望的涌动、生存的无奈。葛辉直接说出来，脸上还带着纯真开心的笑容。
“天真蓝？”——仿佛是一个设问，但并不需要回答，表露着作者的疑问。细细阅读葛辉作品中人物和特定环境的关系，可以体会到“天真蓝！”下面隐藏着作者的忧郁和怀疑，以及将对象置入尴尬境遇的不失好意的狡黠。笑容尽情绽放以后面部肌肉会酸痛，心脏也会痉挛；痛快淋漓表述后留给嘴巴的不仅是快感，还有口干舌燥，以及对言多必失的恐惧和反思。像葛辉这样透彻的艺术家，自然明了笑容和直爽背后的虚空。不过他不想沉迷于表述，搁于对伤痛的迷恋。他怀着自己的疑问，巧妙地设置场景，把他所看到的人、物置入其中。蓝天下荡漾着灿烂的阳光，阳光彰显的不仅是笑容，还有忧愁、哀伤以及尴尬和无奈。
直接、肯定的爽朗与如影随形的质疑纠缠在一起，构成葛辉作品的正反指向。
从正方向来讲，葛辉画中的人、物常处于“敞开”状态，直接面对画外的你我。他（她）们大多眼神直视，与画外人了无阻隔。比如正在《发功》的少女，正面赤身裸体，与你我对视，她们直立“发功”的姿势与惯常文化习惯支配下人们对女性身体的解读形成有趣的反差，这一落差一方面显示了创作者对女生身体的独特认识，另一方面直接形成对中国传统气功的揶揄——本来可以拥抱的女性身体正在发出神秘的“气”，作为观众的你该如何处理？艺术家巧妙地把观众放到了尴尬的观者席上，进退两难。或纯真（或遥远）的画中人态度使欲望冲动嘎然而止，观众只能哭笑不得。期待《来找我》的少女，被左右两块对称的巨大黑色块压着，不成比例的大眼睛占据了脸的太多面积，发射着触手可及的欲望之光，她们的无遮拦显示着她们的可爱与无邪，她们绝非极富心机的功利主义者，而是坦诚自己欲望的邻家妹妹，但观众可以感觉到，她们的天很蓝！对人物状态精准的把握是葛辉的独到之处，他看似“非专业”的绘画语言又和他所描绘的人、物形成了良好的契合。《来找我》中的少女草草而就，她们仅仅是欲望的载体，不能再简约的几块小颜色便成就了她们的表情和状态。而上面的黑色块，也只是最简单的颜料平涂，却正好暗示了少女的焦灼和困惑。正是这样的“简单”中，画面氛围呼之欲出。《小丽呀》也是此类典型的作品，作为题目，亦作为画外音“小丽呀”，与画面中涂鸦而成的“小丽”本人形成了直接的呼应——画家对“小丽”的呼喊与对“小丽”的技法处理相得益彰，妙趣横生。
从反方向来讲，在精心设置的情境中，葛辉通过对画面主角们的特定处理，透出他的怀疑和反讽。在《经理的女朋友今天又没有上班》中，他把经理的失意，现实社会中权力与欲望的交织、社会不同阶层之间的扭曲变形关系，刻画得淋漓尽致。空间的简约使人物之间的扭曲关系呼之欲出，作为主角的“经理”、“雇员们”，不在场的“女朋友”在这个简单的空间中进行着隐晦的表述。而现实中正是这种隐晦使“权色钱交易”明目张胆。三个《醉酒的女孩》中一个女孩操纵者象征欲望的毒蛇，扭动着丑陋衰老的面孔，舞动着象征温柔的白花；另一个女孩以性感的体态对照着背景中的残花败柳，期待画外人的进入；最后一个女孩则变成了双性连体人，若隐若现的羽翼与沉重的肉身相对峙，隐喻着始终困扰人类的欲望之谜，她们的眼睛一如既往的天真，正向我们正统文本中对欲望的解释。三件作品中隐含着一个人的目光，它是来自葛辉的。葛辉以简单的表述，展现了（习惯被作为）“温柔善良”女人的另一面，这一面仿佛是蓝天下飘动的灰尘，尽管是透明的，但无处不在，眼睛看不到，我们却在剧烈的咳嗽。
“天真蓝！？”阅读完葛辉的作品，却让我发出这样的赞叹和感慨——“天真他妈的蓝！？”
The Sky Is Really Blue！？
On The Positive and Negative Points of Ge Hui’s Pictures
By Liu Libin, PhD of China Central Academic of Fine Arts, critics
“The sky is really blue！？”, which is an Exclamatory or Interrogative sentence in my thought when I read the pictures of Mr. Ge. That is “The sky is blue!” or “Is the sky blue?”
“The sky is really blue”, which is a Simple and direct recognition, and expresses an excited feeling, and is fit by the pure and the clumsy of his pictures. What the first impression of his pictures gives us is straightforward and nature completed. When he described the objects he could always catch the direct stimulation of these objects depend on his intuition. On one hand, he always trusts and sticks to the first stimulation, which makes him sure for his drawing, have few modifying to the object and keep the original charm of the object described. The traditional drawing technology is not the swanky capital by artists, while he avoids the rut purposely. He does low profiles with the drawing technology, which makes the objects described completely. On the other hand, in these kind of descript, his pureness is exposed. We could feel his optimistic and bright in the reality, and we could sense his attitude of adaptable to everything and his pure heart without any knot. Only he is drawing as this, expressing himself like this, just as only he could find the blue sky and express his feeling. The sky is blue, as looks like very easy to see, but it is not easy to find that. It looks easy to express the feeling directly, but there is too much stumbling. In the reality, most of us could not find the sky is blue or no time to find it, or dare not express so directly though find it because that is too exposed and too easy, which is not in accordance with the implicit, complex and changeable rules. What he said is not the blue sky, but adolescent confusion, embarrassing situation, surging desire, and helpless survival of the young. Mr. Ge says these directly with pure happy smile on his face.
“Is the sky blue?”, which looks like a question sentence, but it need no answer, as expresses the author’s question. After watching Ge Hui’s pictures and thinking of the relation between the person and the special environment, I could know about the author’s depression and doubt hidden under “the sky is blue.” I could find the crafty of the author with his kindness after putting the objects into an embarrassing situation. After smiling to one’s heart’s content, he will feel face muscle pain and his heart spasm. After expressing to one’s great satisfaction, he will feel not only pleasure with his mouth, but also thirsty, feared and reflected to the possible mistakes of too much words. The artists, just like Ge Hui all know the void behind the smiling and straightforward, but he has no thoughts to indulge in expressing and to be infatuated with the pain. With his own question, he sets up the scene skillfully, into which he puts the person and the objects seen by him. There is bright sunshine in the blue sky, though which there is not only smiling, but also unhappy, sad, embarrassing and helpless.
The direct and positive clearness is kinked by the questions closely, which composes the positive and negative points of Ge Hui’s pictures.
From the positive point to say, the person and the object in his pictures are in an open condition and facing us directly. They are mostly looking forward and have no barrier with the people out of the pictures. Just as the picture of Emerging Kung Fu, in which there is a young girl, who is naked, and looking each other with us. Her pose with emerging Kung Fu standing is contrast interesting to the thoughts of girls under the control of normal culture habits. On the one hand, that contrast appears the author’s special cognition to girls, on the other hand, that’s ridiculed directly to Chinese traditional breathing exercises, which in fact the female body embraced now is emerging secret energy, as is how to deal with by the audiences. The artist puts the audiences on an embarrassing situation skillfully while they are dilemma. The attitude of the person in the pictures is pure or far that makes the promotion of desire abruptly put on hold, and the audience only enough to create misunderstanding. The girl in the picture of Come to Find Me is confined by two huge black blocks, and her big eyes owe too much place of her face with disproportionate. Her eyes flash the lights of desire with fingertips and appear their lovely and innocence. They are not very brains of the utilitarianism, but the neighbor sisters with frank their desires. While the audiences could feel that their sky is very blue. To grasp the person’s state preciously is his special ability, and his seemingly non-professional painting words has a good fit with the person and objects described by him. The girl in the picture of Come to Find Me is completed in a hurry, and they are the body of desire. Several little simple colures come into being their appearance and state, on which the black block is painting smoothly with most simple colure, as truly appears anxiety and confusion of the girls. It is in such a simple painting, the atmosphere of the picture appears almost certain. The picture of Ah Xiaoli is also that kind typically. It is as a topic, also as a sound out of the picture, which comes into being a direct echo with Xiaoli her own painted in the picture. The calling for Xiaoli from the artist and the technology to deal with Xiaoli is complement each other and very interesting.
From the positive point to say, Ge Hui shows out his doubt and irony though special deal with the hero in the pictures under the situations set up by him carefully. In the picture of The Girl Friend of The Manager Is Not Going to Work Today, he describes vividly that the manager is frustrated and the relationship among different social layers is distorted with the reality right and desires mingled. The simple space makes the relationship distorted among the characters almost certain. As a protagonist of the "manager", "employees" and not present "girlfriends" in this simple space are all in a vague formulation, while in the reality it is just the obscure that makes the trade between the right and the sex more fragrant. One of the three controllers in the picture of A Drunk Girl symbolizes a viper of appetence, which twists ugly face of aging and waves the white flowers with the symbol of being gentle. Another girl compares the background of faded flowers and withered willows with her sexy body, with looking forward the outer coming into. Then the last girl becomes a bisexual Siamese people, with the wings looming confrontation with the heavy body, which is a metaphor of the mystery of human desires always been troubled by the human being. Their eyes are as always naive, with the expression to us of the appetence for orthodoxy in the text of the interpretation. Three pictures imply a person's sight, which is from Ge Hui's. He uses a simple expression, which displays the (accustomed to being as) "gentle and kind-hearted" of women on the other side. It is like the waving dust under the blue sky. Though it is transparent, it is everywhere. We can not see, but we are in a harsh cough.
"The sky is blue!?" after watching the pictures of Mr. Ge, as made me to issue such a praise and emotion, which is "the sky is really damn blue!?"