逗留詩

江睿

「逗留诗」

图像是创作者逗留于失修与失落中的印证，是创作者建造的具身领地。“失落”的生命力曲折往复，裹挟着集体与私密的诗篇流淌出来，占领一寸真实，完成这亲密的、促狭的、生意盎然的生命历史的时空错置。然而强逞的逗留来自必然的离散。创作者如何捡拾与收留旧日的沙土，又如何将它们洒落到真实之中？洒落是创作者与图像之间的第二次离散，是创作者主动的抛掷，由此，它们冲撞到观者的眼前，邀约其一起进入倒错的对白中。

彭越洋的创作倾覆辽阔与微小，用细腻的修辞的载体讲述生命史中的断裂与难舍难分。「特殊材料制成的人」用遥远却柔软的他乡语言抚摸往日来路上风化的裂痕，打捞被连根拔起的共同时代郁结；又搭建起小屋，庇护家族四代人的重叠对望，贮存难以逾越的对话山峦。

▲ 特殊材料，装置，木，胶片，有机玻璃，艺术微喷，马克笔笔迹，900×450×400mm, 2023

▲ 特殊材料，装置，木，胶片，有机玻璃，艺术微喷，马克笔笔迹，900×450×400mm, 2023

更多作品往右滑动

▲ （特殊材料制成的人），艺术微喷，297×420mm，2023

「Fake Mud (假泥)」中，她用被子这一亲密物件堆叠出辽阔的海，并将有关亲密关系的图像潜藏于已由她完成自我叙事的书本，假似一位侦探从远处窥探真实与幻象之间坚韧的脆弱本质。

▲“摩擦“（咆哮的大海）, 布面蓝晒，43×55cm，2022-

▲ “吸引力”（海底珊瑚）, 布面蓝晒，43×55cm，2022-

「Qing」则是越洋作为摄影创作者献给镜头的决断的诗，Qing是一个拥有着“轻”、“倾”等诸多字义的音节，她选择在计时摄影的时间隙缝里拼贴起这一音节的诗句，从而我们所见是她所驻足的失真的静物世界，是摄影者展现主观路途的原初冲动。

▲ 易感性 （Qing 系列），艺术微喷，120×40cm, 2023-

▲ 越过边缘 （Qing 系列），艺术微喷，120×40cm, 2023-

蒋高艺毫无保留地将生活的满胀与缺失暴露，猫着身子回溯自身与外部世界之间的莽撞相倚。生活的悲涩与快慰由她捏筑为充满触感的图像，而图像成为她奔走探寻的栖息地。「Recoil(后坐力)」中，极其私人的相片成为她的外化四肢，蜷缩伸展，复习苦痛的亲密与绵延；转而，她将相片中的私人物品放置于此，一种断然对亲密的遭遇冲破了图像视觉的习惯性居所与观看的距离，完成她对于私密性的割舍和流放，又进而提出物件与人之间互属关系的难解问题。

▲ Recoil（后坐力），艺术微喷，2022-2023

▲ Recoil（后坐力），艺术微喷，2022-2023

▲ Recoil（后坐力），艺术微喷，2022-2023

▲ Recoil（后坐力），艺术微喷，2022-2023

「TIME FOR DOGS AND WOLVES (狼与狗的时刻)」是一幕幕内部意识与外部表现之间的粘连与打斗过程。她选择以符号化的当下意识入侵原先的画面，重述；从而图像遭遇倒错的生成顺序，占据起内部与外部之间勾连的的隙缝，成为跨维度意识写作的据点，承载矛盾又嵌合的新旧相会时刻。

▲ TIME FOR DOGS AND WOLVES，艺术微喷，2023-

▲ TIME FOR DOGS AND WOLVES，艺术微喷，2023-

更多作品往右滑动

▲ TIME FOR DOGS AND WOLVES，艺术微喷，2023-

▲ TIME FOR DOGS AND WOLVES，艺术微喷，2023-

稚嫩的旺盛的许多问题的，沉重的空荡的诸多拷问的，以重现摄影者与所摄对象之间的相遇-离散-重聚-离散的方式，两位创作者沿着个人生命谱系中的残迹与破口重思物的居所，邀约众人步入设下的视觉险境，仓皇地亲自转译。

▲ 彭越洋

彭越洋（Matilda）出生于中国青岛。她在塔夫茨大学（Tufts University）和SMFA获得了文学学士和艺术学士双学位。在家乡和他乡之间不断漂泊的经历影响了她对艺术创作和表达的感受。她的作品深入探讨了创造性思维的关键层面，观察了思维如何放大和选择某些瞬间，从而错综复杂地编织人类叙事的线索——努力捕捉、叙述和记录转瞬即逝的情感和愿景，这些情感和愿景决定了我们的存在。她的作品还关注个人和代际记忆、历史和叙事的交汇点，以及被定义为现实和虚构之间的模糊区别。她以视觉图像作为创作的基础，记录了一种矛盾，对比了一种人们不断记录世间一切事物时的渴望与试图抓住遥不可及的事物时的无助感。她的艺术创作也深受其诗歌和诗歌意象文学研究的影响。她的作品曾在深圳木星美术馆、波士顿263画廊、波士顿莱卡画廊和成都Shelter艺术空间等地展出。

▲ 江睿

"Sojourn Poems"

Artist

Gaoyi Jiang、Matilda Yueyang Peng 

"Sojourn Poems"

Images are the evidence of the creator's stay in disrepair and loss, an embodied territory built by the creator. The life force of "loss" twists and turns, flowing out of the collective and private poems, occupying an inch of reality, and completing the temporal and spatial dislocation of this intimate, narrow, and flourishing history of life. However, the sojourn of bravado comes from the inevitable dispersion. How does the creator pick up and retain the sands of the old days, and how do they scatter them into the real? Scattering is the second dissociation between the creator and the images, the creator's initiative to throw them, and as a result, they crash into the viewer's eyes, inviting them to enter into the inverted dialogues together.

Yueyang Peng’s creations subvert the vast and the small, and use a delicate rhetorical vehicle to articulate the ruptures and inseparability as aspects the history of life. The "People Made of Special Material" uses the distant but soft language of another tongue to touch the weathered cracks on the road from the past and salvage the uprooted depression of the common era; it also builds a hut to shelter the overlapping glances of four generations of the family, storing the insurmountable mountains of conversation. 

▲ The Sanctuary of Special Materials, Installation, wood, film, plexiglass, giclée, marker handwriting,  900×450×400mm, 2023

▲ The Sanctuary of Special Materials, Installation, wood, film, plexiglass, giclée, marker handwriting,  900×450×400mm, 2023

Swipe for more works

▲ Special Materials, Giclée print, 297×420mm，2023

In "Fake Mud", she piles up a vast sea with an intimate object such as a quilt, and hides images of intimacy in a book in which that she has already completed her self-narrative, pretending to be a detective peeping into the tough and fragile nature between the real and the illusory from afar.

▲ friction (roaring sea), cyanotype on fiber-based paper, 17×22 inches

▲ attraction (coral bottom), cyanotype on fiber-based paper, 17×22 inches

"Qing" is a decisive poem that Yueyang, as a photographer, dedicates to the lens. Qing is a syllable with many meanings, such as "light" and "pouring", which she chooses to collage in the time gap of chronophotography, thus, what we see is the distorted still life world she stops at, and the original impulse of the photographer to show her subjective path. 

▲ susceptibility to impressions (Qing series), Giclée print，120×40cm, 2023-

▲ Over the Edge, Giclée print，120×40cm, 2023-

Gaoyi Jiang unreservedly exposes the fullness and sparseness of life, and retraces the collision between herself and the outside world. The grief and joy of her life are fabricated into tactile images, and the images become a habitat for her to run around and explore. In "Recoil", the extremely private photographs become her externalized limbs, curled up and stretched out, reviewing the intimacy and prolongation of pain; then, she places the private objects in the photographs in this space, and a categorical encounter with intimacy breaks through the distance between the habitual dwelling and viewing of the image's vision, completing her severance and exile of privacy, and then posing the difficult question of the inter-affiliations of the objects and the people. 

▲ Recoil, Giclée print, 2022-2023

▲ Recoil, Giclée print, 2022-2023

▲ Recoil, Giclée print, 2022-2023

▲ Recoil, Giclée print, 2022-2023

"TIME FOR DOGS AND WOLVES" is a scene of adhesion and fight between internal consciousness and external manifestation. She invades the original image with her present consciousness of symbolization and restates it; thus, the image encounters a reverse order of generation and occupies the gap between the internal and external, becoming a stronghold of cross-dimensionally conscious writing, bearing the contradictory yet embedded moments of the old and the new converging.

▲ TIME FOR DOGS AND WOLVES, Giclée print,  2023-

▲ TIME FOR DOGS AND WOLVES, Giclée print,  2023-

Swipe for more works

▲ TIME FOR DOGS AND WOLVES, Giclée print, 2023-

Juvenile, exuberant and questioning, heavy, empty and tortured. In a way that recreates the encounter-dissociation-reunion-dissociation between the photographer and the subject, the two creators rethink the abode of the object along the remnants and breaks of their personal genealogy, and invite the public to step into the visual dangers they set up, translating personally in haste.

Artist Introduction

▲ Gaoyi Jiang

Gaoyi Jiang is a visual artist currently living in Guangzhou and Shanghai. Her artistic creation mainly focuses on the mediums of photography, traditional media and visual art. She is experimenting to examine and reproduce the complexity and ambiguity of inner emotions from the perspective of images and symbolic, meanwhile, she is concerned with the influence and shaping of external situations on inner feelings. She also enjoys reading comics.

▲ Matilda Yueyang Peng

Matilda Yueyang Peng (b. 2000) was born in Qingdao, China. She obtained her BA and BFA degrees at Tufts University and the SMFA. Her constant experience of drifting back and forth between home and other places has influenced her sense of art. Delving into the critical dimensions of the creative mind, her works have observed how the mind amplifies and selects moments to intricately weave the threads of human narratives—an endeavor to capture, recount, and document the fleeting emotions and visions that define our existence. Her works are also concerned with the intersection of personal and intergenerational memory, history, and narrative, as well as the blurred distinction between what is defined as reality and what is fiction. Using visual images as the basis of her creation, she records the contradiction between perpetual documentation and the futility of such preservation. Her art is deeply informed by her literature study in poetry and poetic imagery as well. Matilda Yueyang Peng has exhibited her work in the Jupiter Museum of Art in Shenzhen, Gallery 263 in Cambridge M.A., and Leica Gallery in Boston, among others. 

Curator Introduction

▲ Rui Jiang 

Rui Jiang (b. 2001) is an independent curator and co-founder of LESSNESS Art Collective based in China and the U.S., she does exhibition studies and art writing. Rui is currently a candidate in the Curatorial Practice MFA Program at Maryland Institute College of Art. Rui focuses on the mediums of visual art and experimental media art, researching through iconography, together with sensibility to reflect on the complexity and reflexivity in the narratives of works. Her current attempt is to rethink and explore the mutual construction of space, media and texts in the exhibition from the perspective of textuality. In addition, she has been focusing on the perennial issue of establishing Asian art discourse in a global context.