毫无疑问，“风景”是庹光焰这一时期创作的重要母体。
No doubt, "landscape" is the matrix for Guangyan Tuo's creation at this phase.
2010年，《道口》《桥》等作品的出现，预示著庹光焰的作品开始转向。
In 2010, Crossing and Bridge and etc. indicated Guangyan Tuo's work has been turned to another direction.
绘画，对于庹光焰而言，在绝大多数时候，是作为现实与心灵的镜像而存在的。
Most of the time, painting is like the mirror of reality and spirit for Guangyan Tuo.
庹光焰在黑桥艺术区生活了多年，每次驱车出门，艺术家就会经过其中的一个地方。
Guangyan Tuo has been living in Heiqiao Art Zone for years, every time when he drives out he passes one of them.
庹光焰希望在现实与精神，抑或说表像世界与心灵世界之间，找到一个临界点，建立一个通道。
Guangyan Tuo hopes to find a critical point, build a bridge between reality and spirit or the idea world and spirit world.
以2000年前后的《粉色》，到2007—2008年的《Pose》系列，呈现出庹光焰另一条创作轨迹。
From Pink around 200 to Pose series between 2007-2008, Guangyan Tuo has showed us another creation track.
以2000年前后的《粉色》，到2007—2008年的《Pose》系列，呈现出庹光焰另一条创作轨迹。
From Pink around 200 to Pose series between 2007-2008, Guangyan Tuo has showed us another creation track.
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