作品源自申凡的“标点—印章”系列，采用了中国古典书画中常见的印章形态，将其中的文字内容抽象化，转换材质后再放大，放置在滇池边的栈道尽头。书画中的印章是一个视觉的结点，联结了绘画或书法中留白部分的虚拟空间，以及印章持有者所在的真实空间。

“入口”这件作品同样是一个结点，将滇池边的真实空间，带入到书画中的留白，让观者置身一幅想象的心灵画卷中。这幅画卷的面貌在每个人心中都有不同，但都缘起自这个滇池边的“入口”。每位在此站立的观者都成为这幅画卷的创造者，也都成为风景的一部分。想象与真实，自然与人心，自我与他者，由此联结在一起。

This work comes from the artist's series "the punctuations - the chops": abstracting the text content of the normal chop's pattern in traditional Chinese painting and calligraphy,  then expand the image size on the different surface which is located at the end of the pier by Dianchi. The chop of traditional Chinese art is a visual point which integrated the virtual space of the application of Blank in traditional Chinese painting, and the real world where the chop holder is in.

Also, the work " The Entry" is a visual point, intergrating the real world of Dianchi into the Blank of painting, to place the spectators in an imaginary spiritual picture scroll. The presentation of the picture is different in everyone's eyes, all comes from "The Entry" of Dianchi. Every spectator standing here is the creator of this picture scroll, and a part of the landscape. The imagination and the reality, the nature and the conscience,  the self and the others, is connected together from here.

1952生于上海。

毕业于上海轻工业高等专科学校，居住工作在上海。

1952 Born in Shanghai.

Graduated from Shanghai Institute of Technology, works and lives in Shanghai.