"Post-painting" constitutes an expression of painting with conceptual art attributes, aiming to elucidate the contours of what is known as conceptual painting. Grounded in the theoretical framework of Greenberg's "post-painterly abstraction" and the distinction between language and image in Magritte's painting, within the context of "post-art" that negates everyday behaviors and artistic boundaries, as well as the advent of new media data technology, a reexamination of the conceptual nature of painting ensues.

In a general sense, text serves as a conceptual medium intended for representation, while painting predominantly refers to the composition of images and forms. The scriptural nature of text differs from the painterly nature, thus emphasizing "scripturality" as a form of "post-painting." The scriptural and semantic aspects of works in the exhibition are not readily apparent but concealed within the surface of forms or images and the conceptual connotations therein. Writing necessitates the generation of meaning, subsequently to be read; in other words, writing is effective only when it is readable. However, within these works, overtly readable meanings are not observed. Accumulation and repetition become pivotal strategies of "writing." The expressiveness in the era of short video consumption is ambiguous, and the indistinct articulation in specific public opinion contexts serves as the "implicit" logical starting point.

Post-painting also represents a form of post-pictorial painting, with one of its manifestations being scripturality. In this context, there is no necessity to distinguish between the concepts of writing and painting. Instead, one should read painting from the perspective of scripturality or observe writing from the viewpoint of painting, subsequently obscuring scripturality with images or forms. This encapsulates the "implicit writing" within the significance of post-painting.

Text: Yuan Gao