这种使绘画由二维平面转换为三维的立体状态,早在文艺复兴前后就有先例，为了适合教堂的建筑布局就出现了各种异型的边框特征。上世纪50—60年代，在抽象艺术的领域中，“异型画布”更显得具有立体的三维空间。与以往不同，曾浩首先打破了早期作品强调的平面性，对二维空间如何转变为三维空间甚至于多维空间做了深入的探究，试想在雕塑与绘画之间建立起独特的艺术实践，从而采用了新的外形和构造。其次他运用了以前“泡影”的观念符号，把绘画外框切割为圆形或半圆的“泡泡”的形状，使画面外部呈现出不断膨胀、上升和扩张的状态，而内部却在不断紧缩、孕育或稍纵即逝的幻灭状态。尤其他运用画笔和喷笔相结合的手法，光鲜亮丽又精细入微，使其整个绘画既有平面上明暗和透视技术的“虚幻”空间，又有立体的再造的多维空间，两者巧妙的结合，完全打破了一般的透视规律，突出了以光影、时间、空间及运动为对象的移动形态。

无疑曾浩给我们展示了一种异化的虚拟世界。那些泡沫如同一个个原子、离子或微尘，在相互的作用下，产生了互动性、联结性和转变性，构成一种有边而无限的宇宙空间。他所描绘的人和物如同在浩瀚的宇宙中时空穿梭，让光与影、真实与虚幻构建出无穷的想象力。向观众传达了一种关于人类、自然与未来世界的哲学思维和大胆猜想。

Heteromorphic World

Text / Chang Feng

Over the past thousands of years, painting had always been planar, with only the dimensional restrictions of length and width. The so-called height or depth was only the “virtual” space of light and shade and perspective on the plane, but there was no real “depth”. In the recent works of artist Zeng Hao, through the transformation of the “painting frame” and “canvas” of the painting, the surroundings of the paintings turn from square to round, and from plane to three-dimension, which smashed the limitation of the previous rectangular painting space, so the paintings could be separated from the traditional painting elements, such as: painting frame, edge and partition, to possess the connectivity and outward expansibility and become an independent multi-dimensional space.

This transformation of painting from a two-dimensional plane to a three-dimensional state had the precedents as early as in the Renaissance. In order to adapt to the architectural layout of the church, various special-shaped frame features appeared. From 1950s to 1960s, in the field of abstract art, “special-shaped canvas” appeared to have three-dimensional space. Different from the past, Zeng Hao first broke the flatness emphasized in the early works, made an in-depth exploration on how to transform two-dimensional space into three-dimensional space or even multi-dimensional space, and he tried to establish a unique artistic practice between sculpture and painting, so as to adopt a new shape and structure. Secondly, he used the previous concept symbol of “bubble” to cut the outer painting frame into the circular or semi-circular “bubble” shape, which makes the outside of the picture show a state of continuous inflation, rise and expansion, while the inside is in the  continuous contraction, gestation or fleeting disillusionment state. In particular, his combination technique of brush and spray pen is so bright, pretty and delicate, so that the whole painting has not only the “illusory” space of light and shade on the plane and perspective technology, but also the three-dimensional reconstructed multi-dimensional space. The ingenious combination of the two completely breaks the general the laws of perspective and highlights the moving form with light and shadow, time, space and motion as the object.

Undoubtedly, Zeng Hao demonstrated a heteromorphic virtual world for us. Those bubbles, like atoms, ions or dusts, interact, connect and transform under the interaction of each other, forming an infinite space with edges. The people and things that he depicts seem to be shuttling through time and space in the vast universe, allowing light and shadow, reality and illusion to build infinite imagination. He conveyed a kind of philosophical thinking and bold conjecture about human beings, nature and the future world to the audience.