“原代碼”系列作品創作始于2006年底，至今歷時5年共計約80余幅。
　　電影大師安東尼奧尼曾經說：任何的解釋都不及神秘本身有趣。但在此我依然想，將近幾年來在“原代碼”系列作品創作過程中的些許隨感，加以整理，并以此示人，但更多的還是想留給自己吧。
　　作品標題“原代碼”，泊來于IT語言“源代碼”。我將“源”置換為“原”，是試圖在此系列作品中找尋“真相”，還原其社會及文化本質，而非查尋其出處。
　　將文字或數字符號結合于圖像化的作品中，在當代藝術中已不鮮見。阿拉伯數字這一人工合成物、非天然品的最基本表現形式，這個比英文字母還要“原始化”、“國際化”的符號，在普及到近乎被麻木的慣用后，已失落了它本來的神秘出處，搖身變成為這個時代的絕對代碼；數字符號化的當下世界，“原代碼”已然變為全球性的社會基因。
　　在當下社會里，符號與現實的關系日益疏遠，模擬物取代了真實物，擬像比真實的事物更加真實。在這樣的環境中，人與現實的關系變得值得懷疑了，虛擬的社會現實變成一種“完美的罪行”。當我在“原代碼”系列作品中將人工合成、非天然品阿拉伯數字在介乎東方水墨與西方抽象的畫面中強行插入，人們似乎并不介意它突兀的存在。在有序排列的數字中的空格、那個遺失的數字所代表的寓意可能也已不再重要。當被反向置放的阿拉伯數字在符號學上是否還有其意義，人們也無意深究。那些象征社會道德和法律中可能造成嚴重后果的缺陷或干擾，象征人際交往中被公然編碼的缺失部分，人們會試圖尋找這遺失的數字嗎? 在有著現代化的娛樂媒體，國家資本主義和消費主義符號的疲勞轟炸及與某種專權的同流合污、造假資訊的系統組合，大眾逐漸脫離困難復雜的感情和思想——調教——脫離現實——弱智化。習慣、傳統的反應，定型的態度，會阻礙和其他人以及和自己內在的真實之間有意義的溝通。
　　藝術家若把自己的力量借予大量生產制造虛假，制造陳詞濫調，政治的簡化、高科技的樂觀主義、意識形態的扭曲，因而喪失自身的記錄甚至透露真實的龐大力量。在“原代碼”的創作過程中，我試圖將自己從以往普遍濫用的許多不必要的正式技法中解放出來，丟棄技巧的包袱，消除邏輯的轉接……我這樣做是因為我相信：今天的藝術應該系身于藝術家內心的真實而不是邏輯，藝術家要消失于自己的作品中，目標是要在已被強行灌輸的觀念，以及一成不變的情感所造成令人窒息的重殼之下，重新找到一條出路。

　　焦振予
　　2011年10月于上海

　　Source Code Creative Essay

　　The creation of Source Code Series started in the end of 2006 and during the 5 years, a total of more than 80 pieces were created.
　　Film Master Antonioni once said: any explanation is not nearly as interesting as the mystery itself. But here I still want to write down the thoughts I had during the creative process of Source Code Series and sort them out to show others, and mostly to myself.
　　The title Source Code came from the IT language Source Code. In Chinese characters I replaced the “source” with “origin”, in order to try to find the truth through these works, to restore its social and cultural essence, instead of finding its source.
　　To combine words or symbols in a visualized art work is not uncommon among the rank of contemporary art. Arabic Numerals, being the basic expression of synthetical and unnatural compound, is more primitive and globalized than letters. It is so widely used that it became plain and lost its mysterious origin, and turned into the absolute code of this era. In the digitalized world now, Source Code is already becoming the global social gene.
　　In the society nowadays, the relationship between symbols and reality is becoming distant, virtual items are taking over the place of reality; virtual images are more realistic than reality. In such environment, the relationship between human beings and reality becomes questionable when the virtual society reality is a perfect crime. When I force insert the synthetic, unnatural Arabic Numerals drawn with the style in between oriental ink paintings and western abstract paintings, people doesn't seem to mind its awkwardness. The empty space in between orderly organized numbers, the missing number, has meanings no longer important. Whether reversely placed Arabic Numerals still has its meaning in symbolism is not concerned either. Those missing parts standing for the loopholes and disturbance which may potentially cause harm in social moral and law is normal to our eyes and are we still searching for the lost numbers? We are being bombarded by modern entertainment media, state capitalism and consumerism symbols, the autocrat corruption is combined with false information forging, the public is slowly losing the complex emotion and thinking, and then being tuned, lost reality and finally dumbed out. Tradition, accustomed reaction and pre-set attitude will prevent the true communication between people and other people as well as people and their inner truth.
　　If the artists lend their power to mass produce false information, stereotyped expression, the simplified politics, the high tech optimistic and the bending of ideology, they will lose their self-record and even the power to reveal reality. In the creation of Source Code series, I try to free myself from unnecessary formal techniques usually used by others. I throw away my burden of methods and logics. In doing so I believe that the artists today should connect to their hearts instead of logic and they should disappear in their work, in order to find a way out of the suffocating shell of force injected concepts and never changing feelings.

　　Jiao Zhenyu
　　In Shanghai, Oct, 2011 6