在《游葆真池上》中作者陈与义写出了"无心与境接，偶遇信悠哉"的描述。偶遇的真实存在多是以契合时间地点的不期而遇，遇到的仍然是自己内心预设的对象才能构成偶遇的属性。看似轻松却内含惊讶与不安，随机与徘徊。作为展览名字有一种神行陌路的状态，却更多的浮现日常视觉，没有过分郑重的学术性。意图把展览控制在游刃有余的无压力范围内，既是艺术家天性使然，也是诉说偶遇呈现的就是她本人安静的矗立与观望。 她的绘画不是很典型的能被归哪一类的作品，自我感受的强调反而消磨了以形式来作为语言的可能。直接的观看仅仅是色彩的涂抹，剩余的思考则是不加修饰的纯感性流露。画面多是以蓝绿色来主导，她的诠释也只是需要这类颜色的一个回答。能设想这个回答的真切，一种本能的色彩书写就不会有过多的解释。对造型的处理是超脱物像的本质存在，在她的眼里没有传统造型，甚至没有任何既定法则的拘束。一切需要都可以固化为符号的意义与引申的表达，摆脱了图像本身的永恒性，也坚持了动态化的真实。 无论画面中出现的诸多元素，都是诉求表达的特定段落的最终形态。或者说都是她心灵幻化的风景，不带走、不驻留、不遗忘是她自己的"偶遇"状态。视觉呈现只是心与物的理解，而画面却构成了开启观看的一扇真实世界的窗户。那个打开窗看风景的人，就是自己刹那间看到风景里的自己。 Randomness and the Real --Foreword to"An Encounter: Wanshan Guo’s Solo Exhibition" By Kong Xi In his piece"A Tour to the Baozhen Pool", ChenYuyi, a poet living in the Song Dynasty, wrote, " I came across the scenery; I encountered leisureliness. "As for me, often the real existence of an encounter is the one that meets time and location—accidentally and simultaneously. In essence, what we have met are still those attributes that can only be constituted by objects our minds had presupposed. It seems easy but it contains uneasiness, as well as randomness and wandering. Being the title of this exhibition, " An Encounter "is also a state of strangeness. However, it presents daily images without being too serious and academic. "An Encounter ", Wanshan Guo’s latest solo exhibition , aims to be less pressing. The way like this is both a consequence of the artist’s characteristic and a story-telling of her quiet being and personal findings. Wanshan Guo’s paintings are not typical. They cannot be categorized easily. In her works, Wanshan put an emphasis on her own feelings so that the possibility of" taking the form as language " has been weakened. For a first glance at her works, we saw brushstrokes of colors merely. After this, the remaining thoughts showed us a pure sense without any modifiers. Blue and green dominated Wanshan’s artworks, as her own artistic expressions require an"answer"using these kinds of colors. If we could envisage how real this" answer "is, an extra explanation of an instinctive writing of colors will be no longer necessary. In Wanshan’s eyes, the processing of modeling is a natural existence beyond objects. What is more, she deems that there are no traditional ways of modeling and even a single restriction by an established law. To her, all her demands can be consolidated as the meanings of signs and the extended expressions—they have got rid of the eternity of the image itself , plus they have stuck to a dynamic truth. Various elements in Wanshan’s paintings serve as the final form of certain "paragraphs"expressing her demands or, the converted scenery in her mind. It is her own status as" an encounter " to take nothing, stay nowhere and forget not anything. A visual presentation is just an understanding of the relationship between the mind and objects, but a painting forms up a window to a real world. As the one who opens it, Wanshan Guo sees herself when she encounters a view, in a sudden.