黎明的写生风景作品特别出色，用笔不拘于传统方法，而且设色温暖，构图也别出心裁，笔者曾亲观黎氏的作品《澳门主教山》，发现黎明并不是依照“折衷派”的构图方式描这一物件，他把教堂放置在疏落的树枝后面，结构与透视也非常准确。笔者也曾到主教山原处写生，再对照黎氏那张作品，明显地发觉黎明对於描绘澳门风貌并不拘泥于对自然的如实反映，也就是话他并不追求绘画的“照相”语言，而是按照画作的要求去调整视点，而且景物为画面所表达的内容服务。就这两方面来看，黎明的山水写生作品，在芸芸的“春睡”传人中，已经牢固地站住脚了。
摘自《黎明与折衷派》1997《澳门日报》
陈继春•博士，澳门美术史学者
LaiMing’slandscapesketchingworksareextraordinarilyandnon-conventional,using warmcolorsandtheuniquepaintingcomposition.ThewriterusedtoseeLi’sMacau BishopHillinperson,findingthatLaiMingdidn’tdepictitintheeclecticwayof composition.Heputthebishopatthebackofsparsebranches,whichpresentedan accuratecompositionandperspective.ThewriteralsousedtogototheBishopHilltosketch.
WhileobservingthatpieceofLi’swork,hefoundthatLaiMingobviouslydidn’treflect therealnatureinhisdepictionofMacaulandscape.Inotherwords,hedidn’tpursuethe copyingmethodofpaintingbutadjustedthefocalpointaccordingtothecharacteristics oflandscapes.Inthissense,LaiMing’slandscapesketchingworkshavegainedground amonggenerationsofartistsfromspringnap.
Dr.ChenJichun•ScholaroftheMacauarthistory
LaiMingandEclecticism,MacauDaily,1997