1984年，黄锐移居日本，在当时的语境下，黄锐与同代人——多为知识菁英的出国热潮动机是一致的。大多数“星星”艺术家西渡欧美，黄锐一人东渡到日本。再次任意地选择国际当代艺术的次大陆日本，而不是作为主舞台的欧美，潜意识上证实了黄锐执意对东方精神的再出发。
In 1984, Huang Rui moved to Japan, in the context of which he shared the motivations of going abroad with his contemporaries, most of whom were intellectual elites. Most of the Stars artists went west to Europe and America while Huang Rui traveled east to Japan alone. His choice of going to Japan, the subcontinent of international contemporary art, rather than the main stage of Europe or America testified subconsciously Huang Rui’s dedication and a new outset towards the oriental spirit.
而这种生活抉择带着对“道学”、“禅学”文化追求的本质性。
The life choice as such reflected the essence of cultural pursuit in Taoism and Zen.
当时正是“物派”艺术在日本大流行的时候，黄锐开始减少在空间结构中使用的结构和色彩，转而把精简化的物象、材质对立和扩大化。要注意的是，黄锐是从中国审美意识中的《空间结构》过渡到《空间》系列的，因此他的绘画语言在“物派”的语境里也是独具一格的。
At that time, Mono-ha (School of Things) was in vogue in Japan, and Huang Rui began to reduce the structures and colors used in the spatial structure, instead he counterposed and expanded the simplified object images and materials. It should be noted that he transitioned from the Spatial Structure to the Space series with Chinese aesthetic awareness, therefore his painting language was unique even in the context of Mono-ha.
《空间86-10》 Space 86-10
黄锐作品 | 布画油画 | 81x70cm
1986
《空间85-17》 Space 85-17
黄锐作品 | 布画油画 | 150x95cm
1985-2015
《空间85-18》 Space 85-18
黄锐作品 | 布画油画 | 150x95cm
1985-2015
《空间85-23》 Space 85-23
黄锐作品 | 布画油画 | 150x150cm
1985-2015
