As the heresy of this age, Ding has multiple identities, such as painters, calligraphers, critics, and intellectuals. But the first thing I know is that the 80 post poets are full of energy and creativity. As a poet, in the new century Chinese poetry in the first few years, Ding with “LAN-STAR” “piston” and other important folk publications for the position to criticize it in the more forward-looking and prophetic poetry, give birth after 1980 generations of poets poetry movement has made outstanding contributions, become a leader a generation of poets; Ding into the youth to write “Shanghai, Shanghai” and a number of penetrating criticism and outstanding works.

I have introduced Ding Cheng’s identity as a poet, because I come into contact with after Ding Cheng’s paintings suddenly found Ding Cheng he as a poet as a painter Ding, in the depths of the soul are homologous, and even can be said that the poet is Ding Cheng other status of the foundation and source of the aura, a painter would make him a powerful and unconstrained style. Imagination and passion to inspire the most thorough.

Therefore, when the first time I saw his paintings, works is full of magic and temperament. This kind of thing is familiar and full of intense and complete strangeness. This is a hurricane of magic. In the control of this power, in the works of color, lines and stitching, have been given a mysterious and horrible, decisive, and let people try to break at unable to restrain the emotions to rebel forces. But this force does not point to hope, but shows the absurd variation of the world and the deep despair of the sober. If there is any hope, the destruction itself and the “eyes” can be seen everywhere. (in Ding Cheng’s paintings, no matter how absurd and chaotic it is, it is not a mistake, but the world itself has no value order. ” Ding Cheng at present this chaotic and absurd, on the one hand, showed his critical spirit and intellectual conscience, on the other hand, works can be seen in the figure of the animal “eyes”, “eyes”, reflects, in addition to criticism, Ding Cheng have greater expectations and whether he can play through their own efforts to find a constitutive value order for the era, at least he did not give up efforts to rebuild value reason. This itself shows the value of the work of Ding Cheng.) Maybe it can give us a courage and hope to break through the reality, and prove that in this disciplined era of mechanical reproduction, there is still a force that does not give in to a few people. He tried to use the blood, color, shape, metaphor of surrealism to achieve, is to declare war with the times, trying to save civilization symbol, and desire pressure numb soul breath, restore the original vitality, but also hope to restore the value system and moral order Chinese characters itself. His amazing creation of magic, perhaps from his ideal, and the spirit of ideal and uncompromising.

In the face of Ding Cheng’s works, and I moved, that he left us is always a person with the world fighting tragic image, this image reminded me of Lu Xun, who clearly see the reality but firmly and despair fighting spirit warrior; a belief in the collapse of the era, riding horses for maintenance human dignity and fighting alone. This person is doomed to be alone in the world but is willing to fight for the people alone, and is doomed to pay a huge price but never compromise. As he was in the “1644” (164x212cm, cloth, acrylic, ink, 2017), “a false false civilization to civilization Freemasonry” (69 x 137cm, ink, paper, acrylic, 2017), “beautiful new world” (147 x 104cm x 2, ink, paper, acrylic, 2017), “empire of the last breath to breath” (200 x 40.5cm x 3, cloth, acrylic, ink, 2017) as the prospect of those crazy, chaotic and bloody, behind from time to time flashed out of the phantom showed in his eyes, with despair, but also contains a faint glow. “We are strangers, lonely / fierce, sharp, gleaming / we are listening to the voice of his beast swallowed” — when looking at these paintings, Ding “square” in these verses to film “repeated bullet time”, slow, rotating puncture time blocked again and again hit me like a bullet:

The heart wall of the times is becoming weak in inch and inch

We don’t know how long we can keep it in the name of youth

The strength of matter is like a grinding wheel

First, it’s sharpened us very sharp

And then it’s sharp.

And stealthily become fragile

……

作为这个时代的异类，丁成具有多重身份，比如，画家，书法家，批评家，知识分子。但我认识的丁成首先是一个充满能量和创造力的八零后诗人。作为诗人，在新世纪初的中国诗坛，丁成通过《蓝星》《活塞》等相当重要的民刊，以及在今天看来颇具前瞻性和预见性的诗歌批评，为八零后诗歌运动做出过杰出贡献，成为世纪初蜚声八零后诗歌圈的领袖式人物；作为诗人的丁成，弱冠之年就写出《上海，上海》等一批颇具时代穿透力和批判锋芒的优秀作品。

我之所以大费周章介绍丁成的诗人身份，是因为在我接触到丁成的画作之后突然发现，作为诗人的丁成和作为画家的丁成，在精神底质和灵魂深处是同源的，甚至可以说，诗人气质是丁成其他身份的根底和灵气来源，画家身份则让他天马行空的想象力和批判激情得以最彻底的激发。

因此，当我第一次看他画作的时候，就被作品背后充满魔力的东西镇住了。这种东西似曾相识又充满激烈而彻底的陌生感。这是一种飓风般的魔力。在这种魔力控制下，作品中的颜色、线条和拼接，都被赋予了神秘的、恐怖的、决绝的，让人声嘶力竭又情不自禁试图去突围去反抗的力量。但是这种力量并不指向希望，而是显示了世界的荒诞变异和清醒者的深深绝望。如果说有什么希望的话，深藏其中的破坏力本身和随处可见的“眼睛”（丁成的画作中，不论显得多么荒诞，多么混乱，那都不是丁成的错，而是这个世界本身没有了价值秩序使然。丁成在呈现这种混乱和荒诞的时候，一方面显示出了他的批判精神和知识分子良知，另一方面，作品中随处可见的人物的“眼睛”、动物的“眼睛”，都表明，在批判之外，丁成有更大的期待和担当——不管他能否通过自己的努力为时代寻构一种价值秩序，起码他并不放弃重建价值理性的努力。这本身显示出丁成作品的价值），

面对丁成的作品，让我感动的还有一点，即他留给我们的始终是一个孤身与整个时代对抗的悲剧形象，这种形象隐隐约约让我想到鲁迅，那个悲凉地看透现实却坚定地反抗绝望的精神斗士；也让我想起唐吉诃德，一个在价值崩塌、犬儒横行的时代骑着激情之马提着后现代之笔为维护人的尊严逆流而行。这种人注定孤独于世却甘愿独战众夫，也注定付出巨大代价却永不妥协，就像他在《公元1644年》（164x212cm，布面，丙烯，墨，2017）、《犹如假文明对假文明的惺惺相惜》（69×137cm，墨，宣纸，丙烯，2017）、《美丽新世界》（147×104cm×2，墨，宣纸，丙烯，2017）、《帝国的最后一口气交给谁来喘》（200×40.5cm×3，布面，丙烯，墨，2017）等画作中表现出的那些疯狂、混乱、血腥、颠倒的末日图景背后不时闪现出来的幽灵般的眼睛一样，包含着绝望，也包含着微弱的光芒。“人群里的我们彼此陌生着、孤独着／激烈的、锐利的、闪着寒光的我们／正在听着自己被蚕食的声音”——在看这些画作的时候，丁成《广场》中的这些诗句反复以电影特效里“子弹时间”的方式，慢速、旋转、挟裹着刺破时空涟漪的锐力，一遍又一遍把我击中：

时代的心壁正在一寸一寸地变得薄弱

我们不知道还能以年轻的名义坚持多久

物质的力量像砂轮一样

先是把我们打磨得非常锋利

然后是锋利着

并悄悄地损耗

……