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日常随处可见的报纸在成为装置艺术的一部分后顿时充满了隐喻。薛滔的报纸装置同时赋予了作品永恒性和非永恒性。他的作品能被解构拆除,取下报纸一一抚平,便能读到制作作品那段时间的新闻,作品自身的内容性其实又携带着创作时期发生的事件。他的作品创作自由,不受条条框框的限制,也不需在艺术或设计,雕塑或家具,高层次或低层次,美术或工艺之间做出单一的选择。这样手装置艺术作品既颠覆了前辈作品的时髦优雅和孤高之气,又引用了他们的灵感得以激发的那些范本。
Everyday newspapers are full of metaphors right after becoming part of the installation art. Xue Tao’s newspaper installation at the same time given the works of eternal and non-eternal. His works can be deconstructed and dismantled, and the newspapers can be removed and the newspapers hesitated to read the news of the time when the works were made. The content of the works itself actually carries events during the creation period. His works are free to create, free from the constraints of the rules and regulations, and do not have to make a single choice between art or design, sculpture or furniture, high or low level, art or craft. Such hand-set works of art not only upset the sophistication and loneliness of their predecessors, but also inspired those inspired by their inspiration.