我望着山，山很大，像一个怪物，我显得那么的小。我走近那山时，山与我之间的距离渐渐消失。它在我面前不再是巨大的怪物。而成为引导我向上攀爬的一个高地。之前我与山之间有距离时脑海里所刻下来的那些形状开始消失，由周围各种物象（天空，云雾，森林，光线，影像）所组成的结构也开始消失。此刻我感觉到身体里有一股强烈跳动着的力量要我走上去。
　　在山顶之上，空间环境再次变换。从高处我能一览无余，四周豁然开朗。此刻我站在山顶，感受到的已不再是之前我在山下看到的山顶。
　　空间的变化不完全是因为我在移动，也是由于层次光线色彩能量声音等质与量的变换所造成。
距离的视觉语言：
　　面对不同距离的经历使我意识到，因为我的身体在动而进入不定的视觉语言域场，比如形状和结构。视觉语言让我同时经历了尺寸（我的身体与山的距离），时间和力量的变化。随着我从山底登上山顶的过程，周围的景象不断地魔术般的改变。光线也在变，我的情绪也在变，声音也变得敏感，使我好像可以用自己的耳朵去看声音。在山顶的那一刻，我又体验到变幻的视觉语言产生完全不同的影像。
躯体结构的牢笼：
　　距离不再把我局限在一个视觉范围里。距离教会我任由我的想象力自由的活动，包括走出我自己的躯体。
　　通过经历这种距离的游戏，我清晰地感受到超越躯体自身的认知，如何在不受躯体主宰的情况下去体验视觉语言。在我登山时，每次当我回到我的躯体中，整个文化的体量跟着构成我的躯体时（我的躯体似乎是我一直背着到处游走的有价值的机器），我意识到的是我心脏的跳动，我的呼吸，渐渐僵硬的肌肉和血脉，汗水，以及我的躯体里正在进行的生理活动。身体和心理的反应使我的躯体像空间的牢笼，替代了我周围的视觉符号。我的躯体与我经历的视觉语言产生对抗。
　　当我任由自己的躯体融入视觉语言的体认时，要想让自己去思考距离与空间，那么人，比如人的穿着以及构成人的一切世俗价值，是必须放下的牢笼。
　　意识到距离游戏的存在，带着一股真诚让自己的躯体脱离其本质上的结构以及构成躯体的价值。这样的真诚是重要的，让我的躯体纯净的经历周围在不断变化的视觉语言。
兰正辉的艺术世界：
　　兰正辉处理视觉上的手法，大概就像以上所写的那种距离的变化。
　　兰正辉的作品，像一个长久的承诺，在看距离方面给予一种新的清新感。就好象有某些东西掉下来“震动”我们脚踏的地方。天空好像一道透明的墙降下来。散开的线条同时构成纵向和横向的雨。许多大大小小的方块在地心引力中飞舞。尺寸与体量构成了面，层次的游戏构成空间，成为视觉上的狂欢。
　　许多大的方块（兰大幅的作品）或许多欢乐的小方块在四周切割着，使画的尺寸变得如此的刺激。欢乐，哭泣与叫喊使我们感悟到我们回到了我们基本的人性，这一切在我们的躯体与距离相遇产生明显的视觉语言的经历当中，使我们的世界再度的清新起来。兰正辉说：“透过艺术作品，我希望能获得纯净的气氛，一股好像狂风暴雨的力量，以抖擞的精神使世界变得清新。”
　　在这种自由开放看距离的视觉处理手法中，距离不再是它本身的存在，而是解读我们四周视觉结构与方位的手段，也可作为解读塑造我们各种价值的方法。兰正辉的信念就是艺术家必须拥有根（思想的，意念的，情感的），并对自身施行纪律以及严格的批判意识。艺术家的努力不同于工厂的工作，只是施行已经试验过并肯定的配方。他认为，从艺术家付出努力的全部工作中，所产生出来的好作品其实只有少数，其余的都是垃圾。但是在这个信念中也有一种动力使人脱去所谓的传统/意识形态和技术的“奴役”。艺术家必须透过他自己的自由重新找到传统。
　　“所有以任何价值为名义的一切奴役的框架必须送上绞架”。同样的看法使人无论男女都不受束缚，或心灵凝固来限制人进入他自己的生命。
墨与纸浆：
　　兰正辉于1985年开始跨入中国现当代艺术的领域，与他同时代的人对当局予以批判而产生政治上的改变，自此，兰正辉被视为探索现当代艺术运动中的中国先锋艺术家之一。他1985年的作品“新出土的不可译的公元前拍给公元后的加急电报”视为他被列入中国现当代艺术家的里程碑。在他后来的探索中，他采取与流行的中国当代艺术家不同的途径和策略，就是回到墨与宣纸，而与他同时代的艺术家大部分则涌向数据媒介与观念设计。北京中央美术美院教授邹跃进认为兰正辉的体量水墨在中国当代水墨画中处于领先地位。
墨的旅程：
　　兰正辉于2001年在广州开始他的大水墨绘画，2004年夏天他把画室移到安徽省的一个小城，继续对大纸浓墨的书写做进一步的推进，这个探索到2006年更成熟了。墨与宣纸与中国古典艺术特别是书法与文字有密切的关系。这些材料使兰正辉同时走向两个潮流：传统艺术的拓展与当代艺术的创新。这两个潮流的交汇给予更大的空间，产生他对两者的疑问，焦虑与希望。
　　墨与宣纸既不是随手可用的材料，也是不好驾御的媒介，特别是大尺度的。宣纸吸水性强，有纤维的质感，而且易破不易处理。墨也一样，要求一致的动力，压力，笔触与层次，同时也要求适当的速度来配合宣纸的吸水度。另一方面，只用墨来做视觉创造，使自己放弃在色彩世界的工作，创造出动感的能力比与玩色彩游戏更强。用墨与宣纸，可比喻为“在水上作画”，两者产生同一的视觉画面。与画布和油彩不同，画布和油彩在绘画世界里是分开的两回事。兰正辉用各种不同的自创绘画工具，钻研这两种材料与媒介。他的画室，以其说是作画的地方，倒不如说更像是“纸的屠宰场”。墙上面有大的夹子挂着不同尺寸的纸卷，地上是一桶一桶的墨。
雨与纸浆：
　　我认为雨是最独特的自然现象。雨不以距离与尺寸为假设，雨带来重复的线条，不停在动。也制造出重复的层次。尺寸与距离变成相对，雨把我带到与山不同的视觉语言经历中。雨造就能把我们内心的情绪吸入狂雨或薄雾之中的相遇空间。雨仿佛使我们的躯体得以释放，同时也把我们的躯体变成为雨的一部分，有各种情绪伴随着它。特别是当风好像在随着风自身的动向与速度的翩纤中采摘雨的线条时，方位与地心引力的意识在雨中完全被溶化。当雨接触地面时，瞬间所有的视觉现象化为水，向着四周的最低处流去。
　　兰正辉的画的视觉现象，也许与落在纸浆上的雨一样，也许与倒在纸浆上的大树，或纸浆上的暴风雨，或纸浆上的爆炸一样。我们的躯体是那纸浆世界里所有可能的尺寸，所有走出地心引力的可能性，以及所有可能的面。
在巴厘岛：
　　2008年12月到2009年2月，为了筹备欧豪斯画廊主办的《狂雨，兰正辉印尼个展》，由画廊安排在巴厘岛逗留两个月期间，我几乎每天都看到大海，天空，稻田。巴厘岛印度教的各种仪式都进到我的视线里面。巴厘岛海里的浪很大。天空变化万千，五彩缤纷，与北京灰冷的天空不同。好像巴厘岛把我的躯体带回到孩童的躯体，突然遇到自己的欢乐的躯体。稻田使我想起用宣纸作画与将来产出米粒的稻田之间的关系。
　　我在巴厘岛的经历，是我重新面对我的躯体与巴厘岛相遇所剩下空间的经历。这空间是如此的重要，让我可以保留我自己的自由，虽然突然被伤感抓住我控制不住必须哭泣。就在巴厘岛我几乎两个月的时间与画布与亚克力颜料搏斗，没有墨和宣纸。用墨和宣纸，我好像与液体工作，而用亚克力颜料和画布，我好像与固体工作。
　　在这个画展中，我觉得正在把墨与亚克力颜料并宣纸与画布对分成两个大块，而我却想要把我自己挂在这两个大块中间。
　　这画展不完全是我视觉工作的报告。它是我呈献出我自己各种经历的成果。勇气与天真伴随着风，为我们制造出无数条道路，我们走在这些路上，正如我们尊重在那道路上的发现并保持这些发现的纯洁。
Afrizal Malna（欧豪斯画廊首席评论家，诗人）
　　这篇评论文章以第一人称和第三人称交替使用是为了找到笔者所获的参考资料与画作者本人的密切关系，而能更深入认识兰正辉在他的艺术世界里的视觉工作。
Eruption of Mushy Paper/Rain Over Mushy Paper
　　I look at a mountain, the mountain is big, like a monster.At the same time my body is small.Approaching the mountain, the distance between me and it begins to disappear.The mountain is no longer a big monster in front of me.It becomes a plateau in which I climb upward.The shapes which had dominated me from a distance begin to vanish.The structure which consists of the various surrounding layers （sky, fog, forest, light, projection）, also begins to disappear.What I feel now is the energy which pulses through my body as I climb.
　　At the peak of the mountain, space has already transformed again.From the summit I can see everything, spread out evenly through the surrounding area and around my body.I am now so high up that I can no longer see the top, whereas before when I was at the bottom I could see this high point of the mountain.
　　The space changed not only because I moved, but was also created by the transformation of the quantity and quality of gradation, light, color, emotion, and sound.
Visual Language from Different Distances:
　　Two experiences based on the different distances from which I faced made me realize that this experience can also be brought to visual language, whose form and structure is not stable because of the movement of my own body.Visual language is where I experience measurement （the distance between my body and the mountain）, time and energy all at once.Light also changes, as well as my emotion and the atmosphere which continues to be transformed by the magic of the imagery I experience as I approach the mountain all the way to its peak.Sound becomes more sensitive, until it feels as if I can see its resonance with my ears.At the top of the mountain, I experience a projection that is completely different from the instability of visual language.
Duality of the Construction of Body:
　　Distance did not bind me to one visual view.Distance gave me space in between through which my imagination could move freely; which included being free from the immanence of my own body.
　　By entering into the play of distance, I experienced with clarity how the awareness over body alone is precisely what forms the greatest connection for experiencing the visual without the authority of the body.Each time I return to my body at the moment I was climbing that mountain, and all the contents of culture which are joined with my body's construction （as if my body is a valuable institute which I continually carry from one place to another）, in which I am aware of the beat of my heart, my breath, my muscles and arteries which harden and sweat, and the various biological mobilizations which take place within.It's as if my body is two spaces which substitute the visual codes around me with a physical and mental reaction.My body ends up competing with the visual language which I am experiencing.The moment in which I allow my body to dissolve into the experience of visual language, humanity, its clothing, and all of the values which construct the human body, become a trap of logical thinking about space and distance which must be hung as far away as we can tolerate.
　　Awareness will be the play of distance, and will bring forth a kind of new sincerity which will free our bodies from the supreme constructions and values that shape them.This honesty is essential because it allows my body to experience the visual language that moves around me in its completeness.
The Art World of Lan Zhenghui:
　　It is perhaps from this approach that Lan Zhenghui carries out his visual strategy in the field of distance up above.
　　Lan's artwork is like one long promise to offer something fresh and new in relation to distance.Distance is reconstructed like one big splash.Something that falls and causes the place where we stand to quiver.A sky like a transparent wall that descends underground.A scattered line which creates vertical and horizontal rain all at once.Blocks which dance in gravitation between small and large shapes.The size and feeling over weight which produce dimension.A game of layers which engenders space as a visual celebration.
　　Measurement becomes so very provocative with big blocks（along with the size of a large canvas）, or small fragments which bring joy to or slice the surrounding space.Happiness, weeping, and screaming remind us once more of the foundation of our humanity.All of this refreshes our world like a new meeting between our bodies and distance, like an experience of entering into a visual language that is tangible.In Lan's own opinion, "Through art work, I hope to obtain an atmosphere which is pure, a strength like the power of a rain storm or strong wind with the uppermost enthusiasm to refresh the world……"
　　A visual strategy such as this, which is open and free when looking at distance, and in which distance is not only existential but rather political in order to read the position and structure of our surrounding visual world, can also be considered as a way to read the various values which shape us.Len Zhenghui is convinced that artists must possess a root which applies discipline and critical awareness and is strong enough to examine the self.The hard work of artists is not like the hard work of a factory worker who produces a formula which has already been tested and is definite.In Lan's opinion, out of all of the hard-working artists, there are in fact only a few who produce good work, while the rest is trash.But within this firm belief is a strain for humanity to release the "bondage" of tradition, ideology, and technique.Artists must rediscover tradition through their own freedom.All frames of slavery in the name of any kind of value must be re-examined from a critical angle.Our humanity is the body that has been freed from the shackles of viewing men and women, or a frozen spirituality which limits humanity in order to fit it into their own lives.
Chinese Tint and Mushy Paper:
　　It can be said that Lan Zhenghui began to step into the contemporary art scene in China in 1988, along with his generation whose criticisms of the Chinese communist regime eventually brought change to politics.Since then, Lan has been considered one of the foremost Chinese artists within the experimental contemporary art movement.The piece: A Recently Unearthed Uninterruptable Urgent Telegraph Sent from B.C to A.D, is considered his first milestone following his appearance in the contemporary art scene.Taking a different approach within this exploration, he returned to using Chinese tint and rice paper（Xuan Paper）.At that time the large majority of his generation was relying on digital media and design.According to Zhou Yuejin, a professor of art, Lan Zhenghui's Chinese tint paintings are the forerunners of tint paintings in Chinese contemporary art.
The Journey of Chinese Tint:
　　Lan Zhenghui began using Chinese tint in a small city in the Anhui province, during the summer of 2004.His searching reached its maturity in 2006. Chinese tint and rice paper constitute two materials that are closely related in traditional Chinese art, primarily in Chinese literature and calligraphy.Using this material, Lan took on two currents at the same time: classical art and contemporary art.The meeting of these two different currents offered a dense empty space where questioning, restlessness, and expectation in between the new and old were permitted to grow.
　　Chinese tint and rice paper are not ready-made materials.Rice paper is a domain which is weighted between a high absorbing power, texture that is fibrous, and fragility.Likewise, Chinese tint demands equivalence between movement, pressure, sweeping, and gradation with a swiftness that is measured to correspond with the absorbing level of the rice paper.On the other side, working visually with Chinese tint is work that removes the self from the world of color.The capability to create vibration becomes more important than playing with color.Chinese tint and rice paper, the meeting between the two is like the metaphor "painting over water".Both create a visual icon that is the same, not like paint on canvas which are permanently inclined as two separate matters within the world of painting.Lan embraces this material and media with various painting instruments which he created himself.His studio is more like a "paper slaughterhouse" than a place for painting, with an upper section equipped with large hooks to hang rolls of various sized paper.
Rain and Mushy Paper:
　　Rain in my opinion is the most unique natural phenomenon.Rain does not assume distance and measurement.Rain carries with it repetitive lines which constantly move and create layers that are also repetitive.Measurement and distance become relative.Rain brings me to the visual language experience which is different than that of the mountain.Rain creates a meeting place which sucks all of our inner emotions to the space between heavy rain and mist.It is as if rain frees my body and at the same time constructs it to be a part of the rain itself, along with the emotion that accompanies it.Awareness will position itself and gravitate, becoming liquid within the rain, especially at the moment when wind picks up the lines of the rain into a projection which follows the movement and quickness of the wind itself.The moment that rain touches the ground, is the instant that all visual phenomenon transform to become water which flows to join all of the lowest parts.
　　The visual phenomenon of Lan's paintings is perhaps the same as rain which falls on mushy paper, perhaps equivalent to a large tree which crashes down over the mushy paper, or a storm, or an eruption within the mushy paper.Our bodies possess all the possibilities of size, have all the potential ways to depart from the laws of gravitation, and all the possible dimensions within the world of that mushy paper.
In Bali:
　　For two months I have been in Bali preparing for this exhibition which was initiated by O House Gallery.I have been entered through the ocean, the sky, and through the various Balinese Hindu ceremonies which I witness nearly every day.The sky in Bali, so very expressive, colorful, is different from the sky in Beijing which is cold and gray.It is as if the ocean in Bali returns my body once more to the body of a child.A body which suddenly discovers its own happiness.And the rice fields remind me of the mutual connection between the rice paper on which I paint and the rice field itself which produces the rice.
　　I am so amazed at the growing imagination of the rice field or ocean upon the rice paper.In the various ceremonies that I have witnessed, especially in Apuan with the family of Made Wianta, I have discovered a community energy that is so solid, like a storm which shatters my individualism.
　　My experience in Bali is an experience in which I have re-confronted the empty space which was left over from the two meetings that took place, that of Bali and my own body.The empty space is so important for me to maintain and protect my own freedom, regardless of the fact that I must suddenly cry the moment that I am attacked by the melancholy feeling which overpowers me.And it has been precisely in Bali that I have worked for nearly two months wrestling with canvas and acrylic paint, devoid of Chinese tint and rice paper.With Chinese tint and rice paper, it is as if I am working with liquid, whereas with acrylic and canvas, it is like I am working with a solid object.
　　In this exhibition, I feel as if I am making two big gaps between Chinese tint and acrylic as well as rice paper and canvas.And I want to hang myself in the empty space which remains because of those two big gaps.
　　This exhibition is not only a report of my visual work.This exhibition is an offering from the various meetings which I experienced.Courage and an attitude of naivety to follow the thousand paths that wind creates for us, and we use those paths so that we respect and maintain the purity of the encounters which occur on our journey.
Afrizal Malna（Curator in House Lab）
　　*The basis for this curatorial writing was a personal expression style of "the first person" （me）, and "the third person"（him） in an alternating manner, in order to achieve an intimacy between the contexts which were sought as references to understand more deeply the work of Lan Zhenghui in the world of fine art.