在九十年代的绘画中，我进一步推进了那种直指内心的感觉，我开始流畅的表达出强烈的内心冲突感并具备一种心理渲泄力，在这方面我是中国第一。

　　用这种“方式”我开始使我的绘画成为这激荡的社会文化现实的“心灵凝结”她自然的属于这个时代的内在的精神历史。

　　整个九十年代我的内心充满了或无法摆脱那种精神的窒息感，它迫使我的绘画语言能够表达出人的细微而流逝的意识活动。

　　我的艺术是这段时间我的关于人的存在与现实的悲剧性冲突的梦的实现。
　　—关于九十年代油画
　　朝戈 2006.1　　在九十年代的绘画中，我进一步推进了那种直指内心的感觉，我开始流畅的表达出强烈的内心冲突感并具备一种心理渲泄力，在这方面我是中国第一。

　　用这种“方式”我开始使我的绘画成为这激荡的社会文化现实的“心灵凝结”她自然的属于这个时代的内在的精神历史。

　　整个九十年代我的内心充满了或无法摆脱那种精神的窒息感，它迫使我的绘画语言能够表达出人的细微而流逝的意识活动。

　　我的艺术是这段时间我的关于人的存在与现实的悲剧性冲突的梦的实现。
　　—关于九十年代油画
　　朝戈 2006.1

　　自然对于我的心灵的影响至少是这个世界对我影响的大半，她依托伟大的蒙古草原和她伟大而悠长的诗意，激励我创造一种关于草原的前所未有的而又为人们熟识的富于新识别力的诗的风景画。

　　我希望在自己的风景画中表达出我身处自然之中的“触感”。

　　风景画是生息在那里的人们对于自己依赖的原野所产生的那永久性的自豪感。

　　朝戈 2006.1

　　在绘画层面上我实现了一种可以“呼吸”的壁画表层，以避免油画的宫廷式表层语言。

　　我这些画不是为了人们的仅仅的一瞥而画，它们具有持久的特性，我在这些画中实现某种绘画曾有过的令人崇敬的特征。

　　我所做的努力并不是为了创造与这个世俗时代等同价值的东西，而是更为深远的具有普遍价值的东西，我把目光投向人类的总历史并从中获得我认为有价值的东西。

　　我依赖于这些作品表达了我们全部内在的升华感，并使这此作品成为有关于严格的理性与人类信念存在的标致。

　　我注定是孤独的，因为没有去做普遍市场意义的东西，也没有去追逐浮浅的流行观念，我去实现一种高层次的精神存在，这些作品是长久以来我内心中所期望的，它们经得起持久的注视。

　　朝戈2004.10

　　素描是伟大而朴素的奇观……

　　画素描时，往往是我头脑清晰，目光锐利的时刻，是我用最简洁的方式综合事物的复杂印象的时刻。

　　绘画已有数千年甚至更长的历史，更有众多的素描巨匠供我们仰慕，穷其根本，怎样看待素描的本质，我认为是人们对待世界的诚恳正直的态度和坚韧性格给我们这个多变的世界留下的真实印记，在众多的艺术技艺中，素描是伟大而朴素的奇观。
　　
　　朝戈 2006.1

　　In the paintings of the 1990s, I enhanced the innermost feelings, I began to express fierce sense of inner conflicts fluently and gain the power of abreaction. In China, I was placed first in this field.

　　In this way, I began to make my paintings the“soul”of variable social cultures and realities. It obviously belongs to the domestic historical spirit of the age.

　　My mind was occupied with the sense of suffocation so that I could not get rid of it in the whole 1990s. This feeling made my paintings full of subtle stream of consciousness.

　　My art of the period intends to realize dreams about the conflicts between human existence and realistic tragedy.

　　—about oil painting in the 1990s
　　Chao Ge
　　January, 2006

　　The influence of nature on my soul is at least more than half of the influence of the world on me. The great Mongolian prairie and touching poetry gave me infinite inspiration to create poetic landscapes about the plain.
These poetic landscapes are full of new ideas that have never existed before, while they are well known to people.

　　I hope to describe my feeling of nature in my landscapes.

　　Landscapes are expressions of permanent pride of the land which people lived on and relied on.

　　Chao Ge
　　January, 2006

　　In terms of painting created one special surface layer of freso painting which can“breath”，avoiding a royal style surface layer of oil painting.
My paintings are not for one occasional view by people.

　　They have permanent characteristics. I endured them with respectable quality that had ever existed in some paintings.

　　All the effort I made does not aim to create something that counted this age, but something that have far-reaching meaning and universal value. I paid attention to the whole human history and found out what I take as valuable things.

　　I express our overall sublimation in these art works and make them symbols of strict rationality and human faith.

　　I am born lonely. I did not work on anything that had general market significance and did not pursue the superficial and popular ideas. What I did was to embody the high-level spirits.

　　These works are what I am looking forward to and they can stand the test of time.

　　Chao Ge
　　October, 2004

　　Drawing is a great, simple and marvelous spectacle…
　　The time for me to draw is always an occasion when I have a clear wind and sharp eyes, using simplest methods to generalize the complexity of things.

　　There are a lot of great drawing artists in history of painting during the past thousands years. How to look on the essence of drawing? I think it is the honest attitude and gritty personality that truly marked in the variable world. Among all kinds of art skills, drawing is a great and simple marvelous spectacle.

　　Chao Ge
　　January, 2006