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在黄阿忠的那些风格淡雅的油画作品中,我们看到一种有意融合多种艺术样式的企图,不是强调它们彼此间的差别,而是寻找其中的连接点——塞尚、马蒂斯,一直到某些次要艺术,比如剪纸和图案设计——因此,一切都显得可以共处,围绕着和谐与悦目,谋求视觉的快乐,而不是为了陈述某种观念。本土文化、历史、奇特的风俗和社会环境都不是黄阿忠的主题。他的着眼点通常是一些静物,有时是静止的乡村风景。在他的油画作品里,比较常见的是花卉,这些花卉说不出品种和名称,只是一些依稀可辨的形状、轮廓,有时就是一团色斑或朦胧的光影。它们无一例外地被安置在一个花瓶或者是一只类似陶罐的容器中,周围是我们熟识的背景以及陪衬物:一幅窗帘、几只水果,还有餐巾和台布,倾斜的桌子和案几、茶
Instead of emphasizing the difference between them, we find an attempt to blend many artistic styles among the elegantly-colored oil paintings of Huang’s loyalists. They are looking for the connecting points - Cezanne and Matisse, all along To some minor arts, such as paper cutting and pattern design - everything seems to be coexisting around harmony and good looks, seeking visual pleasure instead of saying something. Local culture, history, unique customs and social environment are not Huang’s theme. His focus is often on still life, sometimes still rural scenery. In his oil paintings, the flowers are more common. The flowers can not tell the species and the name. They are just some faintly recognizable shapes, silhouettes, and sometimes a glitchy or dim light. They are, without exception, placed in a vase or container like a pottery surrounded by a familiar background and a pendant: a curtain, a few fruit, a napkin and a tablecloth, a tilted table and a case How many, tea