李杰
从《伊斯坦布尔画家》到《望京少年》，对于石玩玩而言，绘画不再是单纯的语言表述与再现事物的工具，它成为了艺术家手中的道具、证物或沟通途径。绘画的动因也渐变成为对绘画的功能和对象的质疑。《望京少年》中的少年形象是艺术家通过采集不同人差异化的声音描述，参照绘制出的肖像。石玩玩试图打开绘画单向表达和逆向阅读的方式，让绘画从一开始变得开放：参与者的一件，绘制对象的不确定性、艺术家的主观介入以及观者的阅读经验一同构成了作品。
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李杰，策展人，A4当代艺术中心艺术总监
本文为石玩玩个展《望京少年》前言
by Li Jie
From An Istanbul Painter to Wang Jing Youth, to Shi Wanwan, painting is no longer a simple instrument for narration and representation, but a kind of props, evidence or medium of communication. The motivation of painting gradually changes into a query on the function and object of painting. The image of Wang Jing Youth was created by the artist on the basis of various descriptions of different people. The artist attempts to break the common practice of unidirectional expression and backward reading by making the painting be open at the very beginning: opinion of participators, uncertainty of the object, subjective interruption of the artist, and the reading experience of viewers, all of these constitute the artwork.
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Li Jie, Curator, Art Director General of A4 Contemporary Art
This is a preface to Shi Wanwan’s personal exhibition Wang Jing Youth