从2008年亚洲艺术中心为华庆举办首次个展到现在华庆陆续为我们带来了《人的奥义书》《思维的魔力》《命理》等系列作品，2012年他在创作上又有新的突破，在它原有讨论的“人类终极议题”的基础上，已不仅讨论思维之对话，更将为我们带来人与物的对话，这也许是人与动物，又或许是人与自然及整个世界关系的交流，借此，亚洲艺术中心（北京）将为华庆举办“人·物”——华庆2012新作展，并邀请2011年意大利威尼斯双年展中国馆策展人彭锋担任策展人。

1986华庆大学毕业后转年便去了东欧，99年离开斯洛文尼亚后在台北生活了一段日子，06年又返回了北京。在欧、亚其他国家地区的生活和艺术创作的丰富经验使他对东西方文化有着深刻的体会，所以我们在他的画面中找不到极具地域的影子或刻意追逐异国情调的东西，文化差异使华庆的作品形成了极大的包容力和适应能力。在华庆近两年的创作中，细腻者不难发现其作品随着生活与创作背后的语境转换而随之转换，新作中的图像较以往的“大智慧”“大哲理”更加关注当下的环境、思维变换，也就是说华庆正用绘画来阐释物质与意识的思辨。动物们站在错综交杂的水管上，变色龙吐着舌头，猫头鹰惊悚的眼神直视着我们，无处栖息的它们没有了自己的家园，好似在质问：人类把这自然、这世界怎么了？难道自然环境行将消失的现代社会将会是我们的生存“路径”吗？所有的问题又回到“人与物”自由、平等、生存、关爱等更为广义的终极议题上，并给以更进一步的思考，以动物之眼看世界，同时也是反省人类自身的发展。另一幅充满诙谐趣味的作品《游戏》中，华庆作品中的经典形象---猩猩与机器人终结者在猜拳，猩猩目光笃定，紧握拳头，而机器人则做“胜利”的剪刀手势，仿佛在挑衅，幻想着也许自己就是人类智慧的终结者，然而游戏的规则就是剪刀剪不断石头。游戏固然有规则，世间万物的运转也自有着各自的规律，他们不停的运转着，相互斗争，也共同相处。华庆对人类不断改造“进步社会”和“文明世界”的反问，正是其对命运真理中自然法则的态度。

2011年华庆创作的“十二生肖”系列纸上作品以野性的形态重新诠释传统的生肖主题，回归原始的表现却又不失张力，今年，“十二生肖”系列大型油画作品受邀参加德国汉诺威“时差---2012中德文化交流展”展览，此次华庆个展也将展出其中部分作品，新的十二生肖所预示的轮回和命运，不仅仅局限于人类的范围，而是延伸到更大的生态系统中。背景中看似随意涂写的数字公式或是哲学思想也揭示了或许“动物世界也是有理性的，人类世界也是有兽性的。”

亚洲艺术中心（北京）即将于2012年6月9日（六）举办“人·物”——2012华庆新作展，届时将展出20余幅华庆全新创作，在这些作品中我们能找到既在远古又在当下的我们自己，又可寻到那些即将消失或已经消失的生命，艺术家以饱满的热情，向我们诉说这人与物的故事：起初怎样，未来如何……

From 2008 when the first solo exhibition of Hua Qing was held in Asia Art Center up to now, Hua Qing has successively brought us new series of works with new breakthrough in creation of 2012, such as “Upanishad of Human Beings”, “The Magic of Thinking”, and “Destiny”, etc. On the basis of the original discussion on “the ultimate subject of human beings”, not only has the conversation of thinking been discussed, but also the conversation of human beings will be presented. It may be a kind of communication between human beings and animals, or between human beings, nature and the whole world at large. Therefore, Asia Art Center (Beijing) will hold “Human·Objects” - 2012 Hua Qing solo exhibition for the artist.

After his college graduation in 1986, he went to Eastern Europe in the following year. In 1999, he left Slovenia and lived in Taipei for a period of time, and then he returned to Beijing in 2006. His life in Eurasian countries or regions and rich experience in artistic creation brought him profound and in-depth experience of Eastern and Western culture, so we cannot see anything of local shadow or deliberate pursuit for exotics in his paintings. We can see that cultural diversities endow Hua Qing’s works with strong capacity and adaptability. In Hua Qing’s creation of almost two years, it is easy for the considerate people to find the works transformation with the context transformation behind life and creation. The images in his new works tend to pay more attention to immediate environment and thinking transformation compared with the past “wisdom” and “philosophy”, that is to say, Hua Qing is interpreting the intellectual analysis of material and awareness with painting. For example, animals stand on the mixed water pipes, chameleons stretch out its tongue, and owls look at us in the eye with thrilling expression. Without habitats and home, all of the animals seem to question: How do human beings treat nature and the world? Will the modern society without natural environment be our survival “route”? All the problems get back to the more generalized ultimate subject of freedom, equality, existence and care. Given further thinking, we see the world from the view of animals, which is also the reflection of human beings’ self development. In another work full of humor and interest, Game, the classic images in this works, a gorilla and a robot terminator were playing the figure-guessing game. The gorilla grasped its fist with assured eyes, but the robot made the scissor gesture of “victory” like provocation, and imagined himself the terminator of human intelligence. However, the rule of the game is that scissors can never beat stones. Even if a game has a rule, the operation of worldly things also has their own disciplines. They are continually working in mutual struggle and together get on with each other. The question Hua Qing asked about the continuous reformation of “advanced society” and “civilized world” was his attitude towards the natural law in truth of destiny.

In 2011, the “twelve Chinese zodiac signs” series by Hua Qing re-interpreted the Chinese zodiac subject in a wild form, returning to the original presentation but not losing tension. This year, the large-scale oil painting works of Chinese zodiac series are invited to participate in the “Time Difference-Chinese and Germany Culture Exhibition 2012” held in Hannover of Germany. This time, partial works of Hua Qing’s solo exhibition will be exhibited. Transmigration and destiny that new twelve Chinese zodiac signs predict are not only restricted to human beings’ scope, but also extending to larger ecosystem. The figure formulas seemingly randomly doodled in the background or the philosophical thinking also revealed a thought “maybe animals are also rational, and human world is also brutal”.

Asia Art Center (Beijing) will hold “Human·Objects”- Hua Qing’s new works exhibition 2012 on June 9, 2012 (Saturday)-. More than 20 new works by Hua Qing will be on show, in which we can find ourselves in both ancient times and modern times, and also seek those lives that will disappear or have disappeared. Artist tells us the stories of human beings and things with great enthusiasm: what about the origin, and the future……