2012年3月10日由鲍栋策划的申亮个展“物拓图”将于空间站开幕。此展览集中展示了N12的成员之一申亮近2年最新的油画作品。展览现场，将构建游廊般的呈现方式，迂回曲折的呈现着艺术家对那些陈年旧物的怀恋。黑灰厚重的颜色与遮蔽与敞开的展墙之间，营造穿梭于日常物的历史碑林之感。

自2000最初几年以来，“影像绘画”或“图像绘画”的潮流在区别于写实主义绘画的同时，也形成了一种狭窄的美学趣味。在这股潮流中出现的艺术家也形成了某种共性，如何超越这种共性并继续推进其艺术实践，则成为了他们正在面对的问题。

申亮的这些近作正好隐含着一种转变的契机。他在使用老照片图像时突出了图像的实存性，图像本身以一个物质客体的身份参与到了画面这一物质平面的结构组织之中。照片与画面的关系更像是“原本”与“拓本”的关系，一种近似于身体与笔触之间的物质性关联。浮雕般颜料的厚度掩盖了老照片的图像性，并打开了一种物质本身的纪念性。

申亮的这些作品即是图又是物，既指向某种怀旧情感与审美氛围，又拒绝任何意义的解读；既需要一种专注的凝视，又期待着一种游荡的目光。其中包含着某种进一步思考绘画与图像、艺术与器物之间关系的可能。

Shen Liang’s“Material, Engraving, Picture” Solo Exhibition planned by Bao Dong will be presented by Space Station on 10th March, 2012. The exhibition will display up-to-date oil paintings created by member of N12-Shen Liang in the past two years. At the exhibition, a veranda-like mode of appearance will be structured to circuitously present the fondness of the old things by artists. Among dark colour and indistinct walls, a feeling of shuttling between usual objects and ancient stone tablets is built.

From the early years of 21st Century, the trend of“Photographic Painting”or “Graphic Painting”formed a kind of limited aesthetical interest while distinguishing from realistic painting. Artists emerged from the trend shape a sort of generality, and how to surpass the generality and propel artistic practice becomes the major problem they are facing.

Shen Liang’s recent works just implicate the opportunity to change the situation. He highlighted the existence of pictures when using old photos, and involved the picture itself in the structure of plane of existence as material objects. The relationship between photos and pictures is more like the relationship between “original” and “rubbed”, a physical connection between body and brush stroke. The thickness of relief sculpture like pigment covered the graphic character of old pictures, and released the memorial character of the object itself.

These art works created by Shen Liang are pictures as well as objects. They not only pointed to certain nostalgic feeling and aesthetic atmosphere but also declined any possible interpretation; they need concentrated gaze while in the meantime expecting vagrant sight. The possibility of considering the relationship between painting and picture, art and object is also involved.