苏蒙画廊非常高兴此次能为各位提供主题为“裂肤之痛”的新画展，为各位参观者介绍四位非同凡响的艺术家的作品。四位艺术家的作品用极端现实的手法展现了在表层“皮肤”之外现代城市居民的日常生活体验。

刘保明的作品中体现了一种自我异化的现象。他将这个“自我”视为消费主义和物质生活的产物，注重通过破裂的视觉形象展现这种异化的自我。“极端幻觉”系列作品就是这样的一系列反映现实感对立面的视觉作品。

张海鹰的“扫黄运动”系列作品讲述了一个关于穷困、绝望、侮辱和陷阱的复杂故事，这充分体现了现代文明中经济发展、城市移民和技术进步所带来的副作用。通过对于妓女的真实描绘，张海英的画作极力展示其作为人的挣扎，所忍受的侮辱和自身的脆弱，同时表现压迫者和被压迫者之间的狡猾与欺骗。

刘芯涛的“溃夜”用单色和不规则的构图来展现在黑夜中的空虚焦躁和哀愁失落。“溃夜”物化了人的行为以及人作为主体的缺失，艺术家通过自然手法将这一矛盾加以调和。

黄引的作品描述了毛泽东的时代，而最为有趣的是在其作品中虽然体现了毛泽东时代的文化但却故意忽略了毛泽东自身的形象。艺术家没有通过刻画毛泽东的形象来体现那个时代，而是展现红旗、标语、大生产运动、大炼钢铁和样板戏等具有鲜明时代印记的事物来体现那个时代的特色。黄引通过个人视角所描绘的毛泽东时代具有强烈的个人色彩和特殊意义。

Soemo Fine Arts is happy to present four different artist of exceptional expression in the new exhibition "Beyond the Broken Skin". All four offer a rare glimpse behind the surface - skin - of extreme reality, experienced daily by the modern Chinese urban citizen.

Liu Baoming is concerned with Self-alienation. He sees this as the product of a "self" set in a consumerist society and a materialistic system. He decided to express this in the form of the appearance of the "Self" as a broken visual experience. The series "Extreme Illusion" is a visual account, which opposes the sense of reality.

Zhang Haiying's "Anti-Vice Campaign" series tells a complex story of destitution, desperation, abuse and entrapment, the side effects of modern economics, urban migration and technological progress - the human cost of the present commodity civilization. By re-contextualizing the way prostitution is represented and perceived, Zhang's paintings strive to convey the human condition, with all its indignities and weaknesses, as a duplicitous victimization of both the oppressed and oppressors.

Liu Xintao's "Despondent Night" is characterized by its homo-chrome colors and irregular frames. The homo-chrome color represents the dark night and the irregular frames might be a suggestion of despondence. Although the theme of "Despondent Night" is the materialization of human beings and the loss of their subjectivity, the artist naturally harmonizes this contradiction.

Huang Yin's works depict the historical era of Mao. The most interesting aspect of her images of the Mao Culture is actually the disappearance of Mao's own image. The artist recalls this history not through Mao but some specific scenes that represented that era - red banners, slogans, large-scale production campaigns, large-scale iron & steel making drive, model operas and so on. Huang Yin's image narration through the private eye carries special significance due to its personalized features.