“他们”与“它们”

　　如前所述，在创作《艳阳天》系列的过程中，正是肖红身处2000年前后的当代艺术氛围中，对于自己此前的艺术经验进行反思的过程，那么，在这个系列中出现的没有面部特征的儿童形象也可以解读为正是他自己内心迷茫、漂移过程的一种形象具体化。但是，如果以此为中间点，联系起他前后两个大阶段的创作风格来分析，肖红恰恰是以此为转折点，完成了他从一种直觉式的生命体验到反思式的文化批判的转型过程。

　　“They” and “Non-Life They”

　　As mentioned above, the creation process of “Bright Sunny Skies” series was the procedure of Xiao Hong reassessing his previous aesthetic experience in the ambiance of contemporary art around 2000. Therefore, the children’s image without facial trait in this series can be interpreted as a concreted image of his own confusion and shifting process. Nevertheless, if we integrate his previous and subsequent creation style using this moment as an intermediate point, and to make analysis, Xiao Hong precisely make use of it as turning point and completed his transformation from an intuitional life experience to introspective culture criticism.

　　在从2003年持续至今的《知识青年》的系列中，人物的面部形象被放大到占据了画面的全部空间，而与此同时，却弱化了他们的面部表情和神态特征，他们成为了一种既可以出现在历史的某一瞬间，也可以出现在当下的符号化的“他们”。在这个系列中，“他们”是一个载体、一个容器，而作为“第二表情”特征出现的则是另一种符号，是过往的各个历史瞬间中曾经出现过的那些文化碎片。由此，肖红也完成了他从一个文化缅怀者到一个文化批判者的主体身份的转型，这一点，也恰恰是他的作品由此而具备了当代艺术特质的重要特征。

　　In the “Intellectual Youth” series from 2003 till now, character’s facial image was magnified to occupy the entire space in portrait. In the mean time, their facial expression and countenance feature were weakened. They were converted into a symbolized “They” who could be found at any moment in history as well as appear in the present. In this series, “They” is a carrier and a container. While what appears as “secondary expression” feature is another symbol, which are those cultural fragments in the past historic moments. At that point, Xiao Hong accomplished his transformation from a person who cherished cultural memory to a cultural criticizer, which is exactly a significant indication that his works possessed contemporary art characteristics from then on.