In 1980s, the figurative form dominated the art and the techniques of expression of Academism Realism and Abstract drawing appeared powerless when facing the reality, and their cultural functions have depleted. Pan Deng’s Figurative Expressionism was particularly prominent and important at that time, he used animals and people to bear the ideology of China in today, used concise and lyric way to shape a symbol image, represented the abstract concepts in figurative ones, and ridiculed the political information. In painting expression aspect, he always advocated to abandon the forefathers’ experience and tried to set up his own painting language system. His paintings have a set of expression ways of highly personal characteristics, because his painting form combines the contemporary art form, reveals the thoughts in the works, involves in the social problems and criticize, plus his consistent gray and big picture, give people the picture that is deep, bizarre and full of tension and make the viewers feel a strong shock, and his paintings have the impressive charm. From all this we can see that the artists’research on the western art has deepened into bone marrow, and along with the deep understanding of the Oriental art, so they can reach the height.
- Said Bayshore Art Studio Founder Ms Erica in 2015
上个世纪八十年代自具象形式占据艺术主导地位以来，学院写实主义和抽象绘画的表现方法在现实面前显得无能为力，它们的文化功能已消耗殆尽，潘登的具象表现艺术在当代显得尤为突出和重要，他借用动物和人物承载着中国当下的意识形态，用简洁抒情的手法塑造出象征的形象，在具象中再现抽象概念，调侃出政治信息。在绘画表达方面他一贯主张抛弃前人的经验，试图建立自己的绘画语言体系。他的画有着一套极具个人特色的表现手法，绘画形式结合了当下的艺术形态，挖掘出作品中的思想深度，介入社会问题予以批判，加上他一贯的灰色调和大幅的画面，给人一种深沉诡异并充满张力的画面，使观者感受到强烈的震撼，作品具有让人过目难忘的魅力。这一切可以看出艺术家对西方艺术的研究已深入骨髓，并伴随对东方艺术的深刻领悟，才能达到的一种高度。
- Bayshore Art Studio, Ms Erica, 2015
From Deng PAN's works, we can easily feel his artistic sincerity and seriousness. Through revealing the spiritual nature of things, his works construct traumatic art experience, caused the viewers’ a series of introspections on human themselves. Lofty ideals in life are inseparable from the soul's expectations and the impact, all kinds of thing shapes forms the form and content of explaining reality and imagination after converted by artist inner feelings and pictures. The realization of Deng PAN’s artistic experience, life experience and mental state at the screen and form is the spirit characterizations of interchangeable individuals, his creation makes new value of things wealthy, makes viewers feel a pleasure of brushwork smooth activity and color piled texture in close look, but from a certain distance, the kind of subtle picture effect again gives the picture a more broad, solid artistic conception beauty.
[Adapted from B1 of Sing Tao Daily, Thursday, November 20, 2014.]
从潘登的作品中，我们不难感到他对艺术的真诚与严肃性。他的作品透过对事物精神本质的揭示，构建了震撼心灵的艺术感受，引起观者一连串对人类自身的反省。生命中崇高的理想离不开灵魂的期望和冲击，各类事物形态在经过艺术家内心的感受和图片中的转换后，形成解释现实与想象的形式和内涵。潘登的艺术经验、生活经验与精神状态在画面与形式上的实现，是不可互换个体的精神表征，他的创作富裕了事物全新的价值，让观者在近距离的审视中，感受到一种笔触畅流活跃、颜色堆砌质感的愉快，而在一定距离之外，那种微妙的画面效果又重新赋予画面一种更博大、坚实的意境之美。
[文章来自：《星岛日报》B1版2014年11月20日星期四]
In comparison, Pan Deng’s artistic temperament is direct and generous. His works are mostly related to images of world-end or destruction. There are two series of his works attracting a lot of attention: first of all, he describes the cultural symbols of the great persons, stars and public people, signaling the “dusk of idols” in the secular consumption era and the death of the spiritual pure land in expanded human desires; the other type use metaphors to show the human bodies dominated by desire. He uses broad drawing method to show gaudy and cruel pictures in the form of “mild violence”, which is rough but accurate as well.
Arguably, the artistic expression approaches of these two artists have nothing in common. Bao Zhong’s works come from internal search of soul, while Pan Deng’s works resort to the recognition of and irony to the external world. But there are something in common between them that the aesthetic effect of the spiritual features in their works, either the roundabout and feminine metaphor or the carefree and neat explosive force come from delicate description ——such “delicacy” is anything but using as much exquisite and in-place language as possible, but is about the interest in the dynamic implications and control over linguistic sensitivity. Therefore, although their works seems to have some connections with current trend in terms of the use of existing images and symbols, there is actually a big spacing between them.
[Adapted from Peng Lai, in Beyond Reality - Easel Art in 2010.]
相较之下，潘登的艺术气质直率而豁达，他的作品大多与末日、毁灭的意象有关，有两个系列颇引人注目：一是以戏谑德姿态描绘伟人、明星和大众文化符号，以此喻示世俗消费时代“偶像的黄昏”，以及在人类物欲膨胀中精神净土的消亡；另一类是用譬喻的方式表现被欲望支配的肉体，他以阔笔浓墨式的书写语言将画面上的艳俗与残酷演绎为“温和的暴力”，粗犷，亦不失精确。
应当说，这两人的艺术表述途径并无共同性，前者来自心灵的内在探求，后者诉诸于外部世界的认知与讽喻，但亦有那么一点相通，那就是他们的作品中那些具备精神特质的审美效果，无论是婉转阴柔的隐喻性，抑或是畅快利落的爆发力，均来自于精心描绘——这种“精心”，决不是竭尽所能使得语言如何精致到位，而是对叙述的动态意味的兴趣和语言敏感性的把握。因此，尽管在他们的作品中对现成图像与符号的利用看似与时下的潮流有那么一点关联，但实质上相去甚远。
[文字節錄于2010年彭萊《象外-架上的語義》前言]
As the practical and extravagant trend being popular in the community, Pan Deng is one of a few who dares to go against the trend, but his prescription is not the reversion of classic genius, common sense and rationality. His works portray the secular trend jokingly: angels, people, animals, probably not to blame the deterioration of peace and harmony, but it should attribute to the endless disease in our hearts, especially that acquisitiveness has occupied devastated our lives today. Since acquisitiveness is a chronic illness for everyone today, in addition, we were enslaved by the extravagant desire; so to speak, it trapped us in the abyss. Love of money is a disease that makes people stagnant, and love of extravagance is the most despicable and nasty thing. People are no longer following the convention, and nasty thing. People are no longer following the convention, and never concern about their reputation, the deterioration of life has been finished in the vicious cycle, the lofty dignity in their soul has begun to decline, being withered and haggard. They just think much of their flesh, rather than the sublimation of soul.
[Adapted from Pan Deng Goes Against the Trend, in New Vision, 3rd issue in 2009.]
当社会盛行实用和享乐的风气，潘登是少有的敢于反潮流的艺术家，但他开出的药方不是回到古典正宗、回到常识和理性。他的作品戏谑地描绘了世俗风气：天使、人、动物的败坏也许不应归咎于天下太平，而是更应该归咎于我们内心的无穷无尽的祸乱，尤其是那些今日占据着、蹂躏着我们生活的利欲。因为利欲是我们今日人人都受其害的痼疾，况且奢欲奴役着我们，不妨说，我们陷于深渊之中。如果说爱金钱是一种使人萎靡不振的疾病，爱享乐又是最卑鄙龌龊的。世人再也不向上看了，再也不关心自己的名誉，生活的堕落在恶性循环逐步完成，人们灵魂中的伟大品质开始衰退，凋零枯槁，他们只重视必腐必朽的肉体，而不珍惜不配的灵魂的发展。
（摘自《新视觉》2009年第3期评论文章《反潮流的潘登》）
Today people all over the world are seeking the secrets of nature. Unfortunately, we haven't gotten closer to nature instead we have gradually deviated from it. The reason for this lies in the fact that our ceaseless probes into nature are driven by greed instead of being driven by respect. Nature, therefore, can become a mighty god or a dreadful devil, and in this case, we humans will lose the case of nature. This may be the very root of the difficulty of curing "civilization diseases". The cause of schizophrenia hasn't been found out, and the new melancholia, obsessive disorders and social phobias become prevalent before we realize. SARS has just passed by, and Bird Flu is attacking us. It is so hard for us to face these challenges calmly. Some people are in a panic; others are resuless; still others are depressed. There are even people who disguise their diseases by fooling themselves. In contrast, modern artists prefer to directly face disease.
[Adapted from Guo Haiping, in Disease Our Art Today in 2009.]
今天，全世界似乎都在紧迫地寻找和揭示自然的奥秘。遗憾的是我们不但没有接近自然，反而我们却越来越远离自然，原因就在于我们寻找自然的规律不是缘于对自然的尊敬而是受到各自利益和欲望的驱使，由此而使得自然不是成为魔鬼便是成为无比崇高的神灵，而自然的神化和妖魔化的本质就是自然的社会化。我们身处在这种与自然脱离的社会化环境中，失去的往往正是自然对于我们人类最朴素的关怀，在这种情况下，我们欲想摆脱新老疾病的困扰和挑战这恐怕也是十分艰难的，正如精神分裂症的症结还未找到，新的抑郁症、强迫症、社交恐惧症又在不声不响地在我们中间流行；再如昨天的SARS病毒刚刚退隐，今天的禽流感病毒又气势汹汹地迎面向我们扑来。然而，我们似乎已难以从容地面对这一切挑战，有的人恐慌、有的人焦虑、有的人抑郁，还有的人用自欺欺人的方式去伪装和掩饰。相比之下，当代艺术家们却选择了直接的面对。
（摘自2009年郭海平《病：我們今天的藝術》）