作品

Bosten Lake 87°02’58E-41°92’46N  博斯腾湖87°02’58E-41°92’46N

Color Video, sound; ink and mineral pigment on paper 

彩色视频，声音；水墨 矿物颜料 宣纸

06’06”; 69 x 93 cm

中文阅览请往下翻↓ 

In most people’s minds, Xinjiang seems far away, this is actually a discrepancy of psychological distance. "Time and space" are mostly referred to as physical existence, however, the motivation for life practice always comes from subjective emotions rather than objective reasoning. Therefore, everyone perceives the scale of time and space differently. Ink, as the artistic medium I'm most familiar with, seems to have a considerable distance from Xinjiang. However, through my increasing research and observation of the murals in the Kizil Caves in Xinjiang, I've discovered that ink, or traditional Central Plains culture, has long been intricately connected with Xinjiang. Hence, I chose one of the most iconic symbols of literati culture, the Taihu rock, as a medium to be brought to Bosten Lake, the largest inland lake in China. The landforms and vegetation around the lake vary greatly due to the significant difference in its salinity levels from its eastern to its western shores.

In recent years, my exploration of the Taihu rock, as a key element of my focus on the landscape theme, has gradually deepened. For me, the integration of flower, landscape and even figures into the structure of the Taihu Rock aims to blur the boundaries between traditional flower-and-bird, landscape, and figure paintings, enabling a multi-perspective observation and practice regarding time and space.

I have always wanted to explore the meaning of the existence of time and space through the language of painting. And for me, fixed time seems to have long been absent; instead, time is open and chaotic. Creating in my own time and space has no labels. In my own space, I can dissect and extract everything with disordered time. When I finish a piece of work, my view of the whole world changes.

很多人觉得新疆很远，这是心理距离的偏差。“时空”大多指物理性的存在，但人生实践的动力总是来源于情感而非概念推理。所以每个人感知的时空尺度是不同的。水墨作为我最熟悉的艺术载体，它似乎和新疆有很远的距离，但其实随着我越来越多次对于新疆的克孜尔石窟壁画等的研究和观察发现，水墨或者说中原传统文化在很久以前就与这里有着千丝万缕的联系。所以我选择了最具文人象征的太湖石作为载体带入博斯腾湖。作为中国内陆最大的吞吐湖，博斯腾湖因其东西两侧含盐量大不同，导致沿湖一周有着非常不同的地貌和植被。

太湖石作为我进入山水主题的要素这几年一直在逐渐深入。对我而言，在太湖石结构中融入花鸟、山水或人物是想模糊花鸟山水人物画中间的界限，从而对时空更多角度观察和实践。

我一直想通过绘画语言思考时间和时空存在的意义，而我的周围似乎长期不存在固定的时间，时间是开放和混沌的，在自己的时空中创作是没有任何标签的，可以用无序的时间解剖和提取一切。当一件作品结束的时候，我对这个世界的观点改变了。