三十年前，梁群在发小中被传为绘画才女。
时隔二十八年，我们带着各自的经历在北京宋庄相遇了。大连人就是这么耿直，当大家谈“当代性”和“消费文化”，她强调“视网膜”。我着实被她抛出的这个生理学名词打动了！这个观点多少有点儿不合时宜，但它代表了一种观点；即便不是观点上相同，我也会因为她宣示了勇敢的个性和艺术立场而表示欣赏。
光阴（二） / TimeⅡ 2013
这些年来，当人们流行以观念注射替代视觉大餐时，她没有效仿而丢下对视觉的探索，不过艺术界的温室效应加速了她的创造力的发酵。她是个多面手，这与她丰富的积累和经验以及勤奋有关。她作品吐纳自然，而更值得关注的是其作品铺设出的艺术成就之路。
这条路大致以三个作品系列构筑：老房子、春有百花、抽表系列。
如果说“老房子”是对文化与情感的关注，那么“春有百花”则走出具象或者现象表达，而步入心物不二的思维层次;绘画语言上，开始形成她个人的视觉符号系统，画面呈现出抽象性。抽表系列则试图超越绘画对对象的经验性的认识与表达，而趋于随意和即兴，在经意与不经意间展现出一种完全个人化的生命状态。
然而，梁群绘画的演变并没有走向概念化和符号化，而始终以“视网膜”为要素。她的作品中，结构性的线条和自然流淌的形色，营造了扑朔迷离与朦胧虚幻之象，隐约中蕴藏着一种对心灵被物化、被碎片化和符号化的关切。强大的视觉冲击力和发人深省的意象表现，启示我们对当今艺术的重新审视。
我坚持认为：绘画不仅仅关于视觉，但是它首先是关于视觉的。
当人们在“消费”，她在创造。祝贺梁群！2013年3月于宋庄喇嘛庄大院 My Artist Friend Liang Qun
Thirty years ago, people started to call Liang Qun a painting genius.
Twenty eight years later, we have met in Beijing’s Songzhuang artist village, each carrying along his/her own experiences. Dalian people are honest and frank, when everybody was talking about “contemporary” and “consumer’s culture”, she emphasized “retina”. I have really been touched by that physiological word spoken out by her! This point of view is kind of inopportune, but it stands for an opinion; even if I don’t have the same opinion, I still enjoy her brave expression of character and artistic position.
童年(二) / ChildhoodⅡ 2012
In all these years, when it is fashionable that conceptual injections replace visual feasts, she has not been imitating and abandoning visual explorations, the greenhouse-effect of the art world just accelerated the fermentation of her creative power. She is an allrounder, this has to do with her abundant experience and diligence. Her works breathe nature, even more worth paying attention to is the way of the artistic achievement which her works have paved.
This way roughly consists of three series of works: Old Houses, Spring Flowers and Abstract Expressionist series.
If we say the Old Houses are about culture and emotion, then the Spring Flowers are leaving the figurative or the expression of appearance, and getting into the dual thought level of heart and matter; she starts to form her personal visual symbol system of painting language, abstraction appears in the pictures. The Abstract Expressionist series try to surpass the empirical understanding and expression of the object, they tend to be random and improvised and reveal a completely personal state of being in between carefulness and carelessness.
童年 / Childhood 2012 
百花2012 / Flowers 2012
Yet, the evolution of Liang Qun’s paintings has not moved towards conceptualization and symbolism, but always keeps the “retina” as essential factor. In her works, structural lines and naturally flowing colours construct a bewildering and unreal image, the vagueness contains some kind of concern about materialisation, fragmentation and symbolisation of the spirit. A powerful visual impact and thought-provoking pictorial representation inspire us to have a new gaze at contemporary art.
I insist: Painting is not only about the vision, but in the first place it is.
While other people are “consuming” , she is creating. I congratulate Liang Qun!