曾浩给观者最深的印象是：画面非常不讨好——关注苦难、关注底层、关注每个人都有的犹如泡泡的欲望、并用塑料般光滑的画面呈现出现代性快速廉价的物质感。

一、权力与欲望

   2008年以后，曾浩的创作由两个系列构成:一个是“狂欢”，一个是“平民”。在“狂欢”系列里，他运用了装置绘画的描绘手法，在二维画布上建构图形。

那些人、动物组成的奇异塑料结合体，试图揭示社会学的“魅惑景观”。因欲望膨胀的奇异的大肚皮，高傲地举起盛世宴会的酒杯，与盛世象征的“鸟巢”、“大裤衩”等建筑互为辉映、共生，形成一个奇异迷幻的悖论世界：“身体虽大却失重易倒；形象光洁易碎；色彩甜嫩但其真实性绝不可靠”。如J.B普列斯特利（JB. Priest Leigh ）在《沙漠午夜》( Desert Midnight)里所说：“在一个满是酚醛塑料的屋子里，盘子倒是打不破，但心会碎。”

  曾浩对于视觉语言的把握归功于亨德里克·贝克兰爵士（Sir. Hendric Baekeland） 20世纪所创造的“塑料”。正如艺术家所述：“聚苯乙烯驱赶着人们的亲近感，但其表面多彩嬗变的品质让追求快感的人们撕心裂肺的兴奋，好像欲望让生活更美好。”

二、权力与苦难

  在曾浩的“平民”系列里，我们“看”到艺术家要张扬和反讽的一种声音：＂工业制造的物质感说服大众它应该被永恒地追求；冰淇淋的桃色下面不会有苦难；表面一切美好。＂曾浩的“平民”棒喝了这个布尔乔亚的甜蜜言论，这一棒是艺术家对弱势生命苦难的凝神一瞥。如果对于苦难的描述表达了艺术家与生俱来的悲剧性特质，那他同时就带给了观者一种希腊式的对于审美的权力的反观：“痛苦引起快感，欢呼夹带哀声，乐极而生惊恐，泰极而求失落”。（《悲剧的诞生》P.27 尼采）虽然曾浩的作品显然是一场关于丰硕和失落的轮回的预警，我们却要承认：正因为对生命的肯定和积极的期许，才使、得艺术家勇敢直面这些苦难和苦难者本身，艺术家对他们的凝视使得处于现代性场域下奔忙的我们，有可能会停下来思考：究竟发生了什么？为什么苦难肆意横行？

  如果说在视觉层面，曾浩敢于把画面画得夸张或者丑陋，那他在现代主义绘画里能够找到一些呼应。例如，弗朗西斯·培根 （Francis Bacon）1953年的创作“研究委拉斯贵支所绘教皇十世之后”（Study After Velazquez’s Portrait of Pope X.），画面里十世教皇的形象被惨淡但又散发出幽光的条状色块逐步分解，他不再是一个人而更像是一个幽灵被艺术家安置在一个奇异的时间的牢笼里；他张开的嘴像是昭示时间无尽的黑色深渊，而那被扭曲的面孔从往后褪去的意识的洪流里涌现出来，朝我们永无止尽地嚎叫。

  曾浩用极度平涂的方式把画面所藴涵的极端沉重用笔触抵消。那一个个荒诞的塑偶，影射了每个人的另一个自我。他用形式和内容所形成的视觉上的强烈反差，表达了艺术家作为艺术家的重要使命：需要看到反面的人和人生，画面里要发出另一种声音。

三、权力，每个人类都应有的权力

  曾浩画面背后是他希望表达人人生而平等的悲悯。在历史残酷的滚轮下，既然人人生而不平等的命运无法改变，但画家本人无法不去关注那些被忽略的、被遗忘的、素来被小布尔乔亚轻蔑并认为是无足轻重的灵魂；他们在世间上存在过、仍存在着、并且将来还会再来的这些灵魂。画家曾皓所具有的这种他者的目光，大概与他的恩师张晓刚和尚扬在以灵性之眼观看世界的视角上产生了连接。

                                                                                                      2013年夏初稿，

                                                                                                2014年夏，再稿于北京

                               The Alienation of Powers

                                    --- Painter Zenghao in the Contemporary World

Christina.Y.Z

 Zenghao did not paint lipstick paintings since 2008 to 2013, eventhough, many of his generation’s painters decide to do some smooth feel paintings to please audience and also harmless to their market expectations... Instead, he made those lower class people, suffering faces, and ugly expanded bubble images on his canvas, and he displeased the mass market since then... The author thinks the painter himself is purposely make a choice to be alienated from the mainstream of this commercial market society, he chose to be an otherself... He attach importance on the interpretations of alienated powers from his perceptions...          

First, Power and Desire

   With his two series works: One is the "Carnival", and the other is "Civilian". In the "Carnival" series, he depicted the three dimensional building images and constructed them unto the two-dimensional canvas.

  The people features, animals, all were consisted into an exotic combination of plastics, tried to reveal that sociologic "charm landscape". The big belly featured the expanded desires, the haughty figures proudly lifted the toasting glass, with the extremely arrogant and overjoyed appearance. These extravagant images reflected the prosperous symbolic power buildings, such as: "Bird's Nest"(THE OLYMPIC BUILDING), "Big Pants"(CCTVTOWER),etc. Then the combination of images finally made a peculiar paradoxical and magical world: "The body is huge but a weightlessness tumbler, the appearance is bright and clear but it is easily to be broken, the color is sweetly tender, but it is truly unreliable."

  There is a quote from JB. Priest Leigh in" Desert Midnight": "In a room full of Phenolic aldehyde, the plate is unbreakable, but the heart will be broken.”

  Thanks to the 20th century ‘s plastic invention of plastic by Sir. Hendric Baekeland, then Zeng Hao’s grasped his unique visual language.He had commented: "polystyrene drove away the intimate sense of people, but the apparent colorful and transformable quality greatly seduced people who pursued for unfulfilled pleasures, then they obtained the false impression that their desires will make them a better life.”

Second, Power and suffering

   In Zeng Hao's "Civilian" series, we could “see” the artist publicized his irony towards such tunes: "The manufactured material sense is immortal. There is no suffering under the creamy sweet tone. Everything is Fine and OK now" Zeng Hao's " Civilian " stroke off this bourgeois softened rhetoric. The stroke is the artist's glimpse on the vulnerable group. If the artistic suffering description is the artist who immersed in the Hellenic tragedy with his intrinsic character, then he possessed a Greek-style aesthetic power and reflection: "Pleasures caused by pain, cheering fused with crying, extremely panic came along with enjoyment, then balanced peace with lost", ("Birth of Tragedy" Page.27, Nietzsche) Zeng Hao’s work is most about an alarm of richness and samsara lost. We admited, because of the affirmation of life and expected positively, the artist paid attentions to these sufferings and misery individuals and groups, brought himself and us the reflection: What happened !The sufferings spread out the earth wantonly!

  If we may say on the visual level, Zeng Hao dared to paint his protagonists exaggeratedly ugly, then he echoed back some of the Modernist painting masters in Modernity context. As the work Francis Bacon painted in 1953: "Study After Velazquez’s Portrait of Pope X.", Bacon put the Pope in the linear cage, the sense of confinement narrows the focus, as it is a clinical study of a specimen in a jar, the effect is anxious, disquieting and sensuous. In the shape of horror, the Pope was screaming towards us from the cliffs of time.

  Zeng Hao sketched smoothly so to offset the extremely heavy sense. Those absurd plastic icons, reflected everyone's another selfhood. Zeng Hao made use of the strong visual contrast toward form and content. He expressed the important artistic mission of an artist: He issued another voice.

 Third, Powers, efforts for each of us

  Behind of his paintings, which he wants to express is the equal compassion towards every humanbeing in this journey of life. Under the crush of the wheel of cold history, we seem helpless towards the situation of the ignored lives in front of those privileged lives, but, the painter himself can not move his perceptive observation away from those helpless, ignored, neglected souls whom are contempted by those emerging conceited bourgeois... In the view of painter Zenghao, those delicate souls had existed, are existing, and will come to exist in the future... With this unique perception, he had a little common in the spiritual vision with his mentor Zhangxiaogang and Shangyang.      

                                                                                                     First draft, Summer, 2013 

                                                                                                     Second Edition, Summer, 2014