1970年生，九岁出版第一本中国儿童画集，十六岁时在香港展览中心举办儿童及少年时期绘画创作的展览。近十年，他的绘画汲取广阔时间维度内中外美术史的造型手法，在北京和上海等地多次个展中，其作品形态持续推进、更迭。
卜镝研究诸多视觉资源：佛教美术、20世纪初西方前卫雕塑与绘画、传统书法，甚至新现实主义电影，不可尽举——那些画的背后潜藏着一方池塘，池深不见底，沉重低回处，模糊的图式浮现便熄灭。于是，艺术家不曾冒进地将图像提炼成图式。他的成就立足于对历史和周遭的判断：无论怎样虔敬地切慕，绘画无法触及确定和真实的全景，顶多只能留住一个角度的光影片段；当走得无法前进，必须折返，保留杂乱或烦恼，伺机再出发。比起一往无前的狂想，求是的谨慎更需要勇气。这恰是现代主义艺术给21世纪中国画家留下的进展空间。
Born in 1970, he published the first catalog of Chinese children’s paintings at the age of nine. At the age of sixteen, he held an exhibition of children’s paintings at the Hong Kong Convention and Exhibition Centre. Within the past ten years, Bu Di has absorbed the modeling techniques of Chinese and global art history in a broad spectrum of time. In Bu Di’s various solo exhibitions in Beijing and Shanghai, the structure of his works has been continuously developed and evolved.
Bu Di has been working on various visual resources, including Buddhist art, early 20-century avant-garde painting and sculpture from the West, traditional calligraphy and even neorealist films. A pond is hidden behind his paintings. It’s hard to see the bottom of it, and, where the brushwork compacts and lingers, obscure schemata go out once they show up. So the artist has never rashly distilled images into schemata. His achievements are built on his judgment on history and experiences: no matter how much you aspire piously, no painting can take a definite and real panorama of anything, but can, at best, capture a segment of light and shadow from a perspective; where you can no longer go forward, you must retrace your steps and keep your confusions or anxieties so that you can start over when the time is right. Bravery is more needed by prudent truth-seeking than indomitable wild imagination. This is the very room, left by modernist art, for the development of Chinese artists in the 21st century.
