Shi Hengbo
石珩伯长期居住在宝鸡——一个有山有水的地方，但是他画的竟然是南极和企鹅。秦岭怎么得罪他了呢？非得舍近求远？
难道他想远走高飞？或者只是心不在焉？想要逃离必定有被围困的原因。是土地的粘性，还是文化的引力场？他自己的解释是他希望宣示他可以关注一个更加水资源的问题，而我首先认为这是中国艺术家对全球的想象之一。
至于里面出现的石狮子，又泄露了他的文化关怀，但是这种对传统的关注又是感性的和片断式的。
蓝色调的极地山水跟红色调的石狮子之间的反差和对比，又是一个前言不搭后语的视觉规划。看上去画面干净简洁，其实石珩伯无意中营造了一个意义的残局：可能他自己也解不开的残局。
Shi Hengbo lives in Baoji permanently—a place with water and mountains, but what he draws is the South Pole and penguins. How does Qinling Mountain offend him to make him seek far and neglect what lies close at hand?
Is it possible that he wants to go far away? Or is he just absent-minded? He must feel siege since he wants to escape. Is it viscosity of land or gravitational field of culture? His explanation is that he wants to announce his concern more about the issue of water resources. First I think this is one of Chinese artist’s imaginations of the world.
As for the stone lions in it, they have disclosed his cultural feelings, but this concern of tradition is emotional and fragmentary. Contrast and distinction between polar landscape with blue tone and stone lions with red tone is also a rambling and unrelated visual planning. The painting looks clean and concise. In fact, it’s a mess with meaning inadvertently created by Shi Hengbo: an inextricably mess even for himself.
石珩伯
生于 1981年12月
毕业于西安美术学院
2007 首届西安文献展
2006 架上艺术“非格类”绘画首次展（上海）
2003 “来看看”关于我们想说的
2003 陕西省第三届油画展
2002 陕西省首届素描.速写艺术大展
《极纪NO.7 》，2006，布面炳烯
《空NO.9》，2006，布面炳烯
石珩伯：我遐想守护那片正在消失中的凝固的净土，便是我关注全球的一种妄想方式。