徐红明的所有作品揭示出了艺术和艺术家的实践。这一实践不仅仅需要静止的战略，而且包含了整个想象力的领域，艺术家以双重的冲动穿越了这一原野。这种冲动不顾磨难，同时将特权赋予播散和凝聚两种运动。手，头脑和艺术家的整个身体都投入了创造的时刻，这一时刻是一种破除一切障碍的梦幻般偏移，同时始终自如地内接于编织在语言的娴熟和艺术家良知中的风格密码。艺术是一种流溢和尺度的实践，这一实践系统地超越哨位的边界和极限，在它们之外去创造一种不可能性的系统，一种产生自艺术家的姿态的心不在焉的方案——这一方案是一种在自动同时又校准过的图像线条中组织好的混乱运动之果实。
设计性和偶然性同时交织在徐红明的作品里，平衡着艺术的完整性和简约、概要的现实缺陷性。艺术造成晕眩同时又造成认识，让人丧失感觉又通过总的来说颠覆一种单边和经济的交流符号下之社会沟通而使人成长。
在徐红明作品中有一种来自结构模糊性的，支持着图像系统的不同之简洁。这种模糊性避闪了通常语言逻各斯中心主义的傲慢，而靠近一种交叉关系。在这里符号形成了长久一致和瞬间逃亡。如果说爬上艺术家脊梁的冲动是无法控制的，那么可控制的便是使图像力量变得清澈明确的一种必需之手绘娴熟。
语言是一种可以完全提取出的储备，其中只有语言本身防卫和保护的部分是无法提取的。在这里无法与之斗争。艺术家只能组织一种源于内在规则的设计好的松弛。它如同艺术家声明的那样能够复制世界，因为“艺术并不重复可见的事物，而是使事物可见。”艺术家深知自己与语言斗争的失败后，在语言面前以偏斜的立场融于想象洪流，调整自己，收获自己的符号之游牧式移动。
徐红明非常了解语言的本性，从未试图驯服它，而是以包含着设计和选择的想法进程来顺应它。结果完全依靠自由的处置，而剔除了任何期待和先见之明。事实上，并非是艺术家具有先见之明，而是语言在自身之中孵化出图像和异常的结果。艺术家深知，语言有一种基于创造进程的晕眩的积极强暴方式，他也深知，其中构成技巧自动减弱。
如果无意识和偶然是丰富作品价值，如果它们还给作品必需的完整性以包含现实的意义，那么徐红明发展了一种能够在艺术制作之中理解由这两个价值表达的不可控制的需求之战略。他通过使用接近东方文化内省的哲学能力的内在方式做到了这一点。。
The entire span of Xu Hongming’s work displays the practice of art, of the artist who calls not only for stationary strategies, but also for the full realm of imagination to be involved, traversed as it is by a two-fold urge which honours neither high nor low, and simultaneously favours the movements of dispersion and concentration. Hands and head, the artist’s entire anatomy takes part in the moment of creation, a drifting of fantasy that knows no barriers yet, at the same time, agrees to partake in a distinctive style that is fully embedded in the awareness and mastery of language. Art is an exercise in breaking through barriers and testing their confines, steadily overflowing boundaries and passing the danger point beyond which a system of impossibility can be created, a project of inattentiveness that springs from the artist’s specific attitude, prey to a wave of bewilderment set within the exacting lines of a calibrated yet automatic image.
Planning and creative randomness together weave through his work, which aims to counterbalance the inadequacy of a schematic and reductive reality with the complexity of art. Art engenders bemusement and, at the same time, knowledge; loss of meaning and also its expansion, by means of a disorienting practice that, by definition, tends to upset social communication which is usually signalled by unilateral and economic exchange.
In Xu Hongming’s work, the system of the image is governed by a different economy, fuelled by a structural ambiguity that bypasses the logocentric presumptuousness of common language, thus reaching an area of interwoven relationships, in which signs are arranged along a continuum consisting of fleeting chords and fugues. For whereas the impulse that winds its way up the artist’s spine is beyond control, one can nonetheless control the manual craftsmanship needed to render the strength of the image patently clear and explicit.
Language is a reservoir in which one plunges with open arms, with no other provision than that which language itself inwardly shelters and safeguards. One cannot fight against such provisions: on the contrary, the artist plans an ordered retreat born of inner discipline that is capable, as he himself declares, of duplicating the world, for "art does not reproduce visible things, but rather renders visible". The artist surrenders to the flow of imagination by standing sideways on to language, in a position of conscious loss, ready to welcome the nomadic movement of his signs.
Xu Hongmingis fully aware of the nature of language and has never attempted to tame it: if anything, he humours it by using processes that involve the idea of project and choice, but allow the outcome to emerge freely, without either expectation or foresight. It is not indeed the artist who is prescient, but rather the language which inwardly harbours unusual images and outcomes. The artist is aware of the technique entailed in the active abuse of language, based on the befuddlement of creative processes, the automatic dwindling of composition techniques.
If the unconscious and the purely accidental are values that enrich the work, re-establishing that characteristic complexity which is needed to enclose the meaning of reality, then the artist has developed a suitable strategy for understanding the uncontrolled moments expressed in the artistic artefact through those two values, by adopting a lesser degree of discipline, closer to the philosophical capacity for introspection seen in Oriental culture.
Achille Bonito Olivaand flowing form of language.
