吳國英，生於1957年，北京。 畢業於清華大學美術學院。近年來埋頭創作，以寫實性的超現實主義表現方式，表達對當今社會現實的感
受和看法，尤以《光陰—癡思長繩繫日》，《邯鄲學步》，《坐而論道》等作品，深獲畫壇好評；繪畫藝術被報刊雜誌，網路電視等媒體廣泛報導，獲得很高的讚譽； 吳國英的繪畫創作充滿了迷人的色彩，恢宏的氣勢和飽滿的構圖，尤其是他近年的超現實繪畫創作，更展現出畫家對於東西方文化的碰撞，飛速發展變幻的世界，物欲迷漫的社會與人們的心靈道德層面的矛盾糾結思考及質問。

Wu Guoying was born in 1957, Beijing, graduated from Tsinghua University.
In recent years, he has engaged in artistic creation as a faithful follower of Realism, he likes to use Realism as a tool to express his own feeling about the social phenomena that is happening today. “Time - long rope links the sun” and Imitating Handen”, “Sit and talk of dogma” are well acclaimed in the art circle. Wu’s painting is full of fascinating colors, rich in composition, especially his latest Surrealist series, has shown the impact of collision between the culture of East and West, the rapid movement of world, the materialistic society and the hazy contradictions of people’s moral thinking.

大 格 局
great line-up
76x101CM
OIL ON CANVAS

當年要把航母開進黃海，間諜飛機不停地刺探情報，現在又在背後製造頻繁不斷的南海衝突，釣魚島衝突，叫嚷要重返亞洲，唯恐世界不亂，唯恐中國強大，就是他，人稱“世界上最大的恐怖分子”的美國。嘗試置換虛幻的場景，通過隱喻，象徵，對比，歷史與現實時空交織的處理方法，來表現對於當今世界，尤其是東西方文化，文明，傳統思維的交流與碰撞，衝突，創造出具有某種在雙重語境下的關於對立，衝突，妥協，退讓，權衡的角色關係。
畫面上西方女子，手中扶著一個裝鷹的籠子，而對面的東方女子，則雙手扶著一個安放和平鴿的鳥籠，並且面對兇猛的鷹的目光，用一種側身護著鳥籠的和平鴿的姿勢。乍一看似乎是兩個愛鳥人坐在那裡，探討遛鳥經，但西方女人的強勢姿態，傲慢神情，不容置疑的手勢，外加她旁邊的鷹的兇橫眼神，都可以肯定這絕不是兩個知心朋友在心靈交流，細看西方女子短褲上面的星條旗標誌，而那只鷹的學名叫做白頭海鵰，再想一想現在某個霸權強國的“重返亞洲”，以及目前的此起彼伏的南海衝突和糾紛，尤其是近來越演越烈的釣魚島衝突，想必就不難理解了。
事實上，把背景設置在圓明園的斷壁殘垣中，也包含了記取歷史教訓，前事不忘，後事之師的意思，而如果您能夠細看並發現西方女子腳下壓的是一冊英文版的《中國地圖》，那麼，“帝國主義亡我之心不死”的核心意思也就呼之欲出了。至於東方女孩的忍辱負重，她身邊的《世界地圖》表示放眼世界的一些細節，就等待您的體味發現了。

Planned to deploy an aircraft carrier to the Yellow Sea, spy planes kept spying, and now the culprit of South China Sea
and Diaoyu Islands conflict, always clamoring to return to Asia , lest the world into chaos , guess who is the biggest
terrorist in the world. Through metaphor, symbolism and a mix-up space of present and past, I meant to express the reality of the world, especially the collision of East- West culture, and the conflicts due to the discrepancies of traditional value among nations, so as to simulate the complex relationship between nation and nation in terms of confrontations, conflict, compromise and trade-off.
The western woman and eastern woman in the painting, both hold a bird cage, with an eagle in the western hand and
a dove of peace in the eastern hand. From a first glance, it seems like the two women are talking about the birds but
soon you feel differently due to the eyes of fierce eagle and the unharmonious posture of the dove. Then you notice
the two bird lovers sitting there are not real friend, this is because of the strong attitude, the arrogant look and the ‘no
doubt’ gestures from the western woman who is wearing a stars and stripes short, plus the bald eagle she kept is not so friendly, presumably her desire to return to Asia is too obvious. In fact, the background of the painting is the ruins of
Yuanmingyuan that I intended to remind people to remember the lesson of history while the Imperialism has never disappeared. If you look closer to the China map trampled by the foot of a western girl, then you will notice the special meaning from the hand of an eastern girl grabbing a world map.