从一个久违的浪漫主义的角度来说，世界上神秘的东西一半是生命，一半是美。
当我在现实生活中经历着全球化的变革，和大众共享着每一个历史性的时刻和生命过程中无边的庸常的时候，我不得不确定那些诱人的神秘早已失踪，于是默默地袖手旁观，等待聆听下一个全球性或历史性的消息，乖乖放弃这样一种不切实际的温濡的视角。但偶尔我也看到某些善良的艺术家会美好地去疑惑，也许会有那么场低概率的邂逅，使人们看到世界里可贵的生命和独特的美也说不定呢。
张燕翔作为一个艺术家（也许他会断然否认这一角色）是个残酷的人，他打破了人们残存的希望。他用他的媒体拼贴画告诉世人，大地上不幸的事情早已发生：没有完整的世界，也没有真实的生活。因为生命和美早已和神秘无关，它们变为了机械化大生产和精确的复制与嫁接。

工业化的恶果早在反思现代性的年代就被人类理性的剃刀切割过了，全球化的流伤也在新的世纪初被一场西雅图的暴动推向高潮。张燕翔用他的媒体艺术表达的观念照理也算陈词滥调了，可为什么还是感到了他的犀利和残忍呢？他的确是不同的，因为他触及到的不仅仅是科技和人文的扭曲和失落，更展现了这些扭曲和失落的“伟大”过程。作为一个学理的人，张燕翔深谙科技的魔力，他得心应手地在高楼大厦上嫁接丛林，轻而易举地在人的脑门上画押，顺理成章地让人脚踩掉了人头。透过这些画，我仿佛都能听到张燕翔嘲弄的哂笑声。他的憎恶和报复是不动声色却刻骨铭心的。摩天大楼像长了烂疮和疖瘤，枝枝蔓蔓，既破坏了现代建筑英挺而摩登的形象，又让人无比恶心自然的枝桠。美在世界里彻底沉没——以一种所谓“进步”的方式滑过世纪谎言的笑容。人们再也看不到那些曾经值得信赖的智慧的蛛丝马迹，惟有布满指纹的后脑勺和在幻觉中都已破碎的艺术家的脸，决然令人感到机械理性的大胜利和不可豁免的摧残之罪——人还可以用什么来思考？或者人作为生命还存在吗？答案张燕翔已经给出，没有了头颅的人们，或许还是一帮白领中坚，全然不觉的叠着罗汉，企望到达天顶——是去领受恩赐呢，还是去接受审判？

其实，审判早已开始……

Zhang Yanxiang's works exercise a spell deeply versed In technique：his hand responds to his heart's understanding In a tall building or great mansion that Is merged into a forest；It Is lightly and easily raised In a contract signed In People’s minds and as a matter of course has People’s feet trampling their heads away．When we Penetrate these paintings，It Is as lf we can all hear Zhang Yanxiang's mocking，sneering laughter．His hatred and vengefulness，expressed In calm gesture and even tones，are carved on our bones and Inscribed In our hearts．Beauty has untimately sunken away from this world， and by means of so－called’progress’slips Into the century’s lying，happy countenance．People will never again see those spider webs and boofprints that are already worth believing。There is only the back of a head covered with fingerpnnts and the hallucination of an artist whose face has been entirely hattered．These resolutely make People feel the victory ofmechanical ratlonality and the guilt of unavoidable destruction．How should they regard this?Perhaps they will regard Iite as still continuing? Or will they hope to reach the pinnacle of Heaven．Go there to receive the gift of compasslon? Not go there to be judged?