绘画是一种观看结果，更是艺术家的修辞方式。通常，人们会将观看经验视作“真实”，并以之建立审视世界的标准。但艺术家却时常挑战这种“真实”——通过视觉修辞揭示“真实”背后的真实。或许，这正是那危一直以来的创作逻辑。从早期“蓝色”、“白色”对病服的转喻，乃至与画面写实手法的互文，对观看结果的修辞化表达，一直是那危思考现实的方式，抑或说手段。即便近来创作的“三联画”，甚至直接呈现锡管颜料物质性的“色丝”语言，那种“蓝色”、“白色”与写实手法的互文，仍然是带有那危个人特色的观看修辞。而这种修辞的背后，则隐藏了那危关于世界的个人化认知结果…

Painting is the result of gaze, but more importantly, an artist's rhetorics. The experience from the gaze usually tends to be considered as "reality" and as the standard for the observation of the world. Artists, however, often challenge such "reality", i.e., to reveal the reality under the cover of the so-called "reality" by means of rhetorics of vision. It is probably the logic that Na Wei always adheres to in his art practice. From the metonymic use of "blue" and "white" to identify the hospital gown to the intertextuality between the color and realism involved, rhetorically expressing the result of the gaze has always been his way, or approach, to reflect on our reality. Even the recent triptychs reveal his unique rhetorics of gaze in view to the "color-silk" medium, direct representation of the property of tin-tube pigments along with the intertextuality between "blue" and "white" and realism. Beneath such rhetorics lies his perception of the world as an individual.