每个碎片都有生命狄蕊红(以下简称“狄”):首次看到您作品的读者,都对所用的材料好奇,如何想到用这些碎片与灰烬创作?薛松(以下简称“薛”):这种方式有偶然,也有必然。20世纪80年代,我刚毕业,一直在寻找自己的语言。我是谁?我的位置在哪?我有没有独特的语言?刚开始,大家都在拼技术,但越来越觉得没意义。我探索了很多,那次火灾后,我看到灰烬有绘画达不到的语言效果,那一年多,我身边发生了3次火灾,但如果我当时没有对自己的思考,即使有10次火灾,我也不会想到用灰烬创作,最多玩一下。后来到20世纪90年代中期,这种表 Every piece of life has a life of Bi Ruihong (hereinafter referred to as “Di”): The first time you see the readers of your work, are curious about the materials used, how to think of these fragments and ashes creation? Xue Song (hereinafter referred to as “ Xue ”): This approach by chance, but also inevitable. In the 1980s, I just graduated and has been searching for my own language. Where am I? Where is my position? Do I have a unique language? At the beginning, everyone was working on technology, but more and more meaningless. I explored a lot, and after that fire, I saw the language effect that the painting of the ashes did not reach. That year, there were 3 fires around me, but if I did not think about myself at that time, even if there were 10 times Fire, I would not think of using ashes, most play. Later in the mid-1990s, this table