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王行云的这一系列作品是复杂的心灵景观。两年的心理学学习最后却将她带入绘画。“可能我的第一语言是绘画。画好以后我才知道我到底是怎么想的。”对她来说，绘画是一种潜意识的行为，自然而然不需要思考。作为一位成长在保守环境下的酷儿女性，她面临过许多“不合群”导致的恐惧与伤害。得以逃离外界的噪音，钻进自己的声场，塑造只有“我”的世界或许是对当年沉默自己的救赎——让画说话。
大尺幅带来沉浸感，远看似乎是轻盈甜蜜的抽象风景。走近才察觉艺术家思想的载体并不是更为常见的坚韧帆布，而是更为脆弱敏感的纸张。纸的制作过程注定了它拥有比帆布更多的呼吸感——植物纤维被绞碎、压平、晾干后留下独一无二的孔洞与纹理。水彩流淌在纸张的纹理中，蔓延，随意而不可控。所经之处卷起层层纸张，勾勒出连绵起伏的相貌。艺术家又将纸切割、撕扯，揉皱再抚平，好似暴力事实却轻柔而克制——这些细小伤疤隐藏在庞大的色彩下，微不可查。层层叠叠的薄纸被混合了胶质的颜料覆盖在最底层的纸面上，遮盖住了那些本就不明显的纸张伤痕，但其不可避免的褶皱却像伤疤，沉默呐喊着曾经的伤害。
住所III
2023
潜意识随着水彩游走在纸张构筑的地貌里，染上柔和轻盈的色彩，柔化了粗糙的伤疤。这样的“粉饰太平”是逃避现实的自我保护机制，还是潜意识里自我的艺术疗愈？推崇儒家的东方哲学下的自我疗愈都是润物无声的——伤疤需要遮盖，而遮盖物最好也是颜色鲜艳的，以免被套上不吉利的评价。但这不代表反抗不存在。颜料在纸张割裂处堆积，凝成了更深的色；水彩绕过薄纸的褶皱，反而更突出了褶皱的纹理——伤害无法掩盖，反而欲盖弥彰。
散落在画面中的眼睛、手掌、头发、脚印暗示着这是一趟“自我”的心灵之旅。身体的细节隐身在这些心灵景观中，观众会不经意的邂逅一双窥探的眼睛——这是艺术家的化身，观众凝视作品时，艺术家也通过作品凝视观众：当我把我的伤痕委婉、尽量不着痕迹的告诉你们时，你们是否能看得到？隐藏伤疤后戴上笑容示人似乎已是社会不成文的共识。但总有一些坚持不住的瞬间，自我的意识挣脱桎梏，痛苦回流，汇成了王行云创作的这一幅幅瞬时的、委婉的心灵哀景。
2024
Text / Lizzy Li
This series of works by Xingyun Wang is a complex spiritual landscape. Two years of study in psychology eventually led her to painting. "Maybe my first language is painting. Only after I finished painting did I know what I was thinking." For Wang, painting is a subconscious behavior that happens naturally, without any thinking. As a queer woman growing up in a rather conservative environment, Wang faced many misunderstandings and fears simply because she’s "different". Escaping the noise of the outside and submerged in a world of her own voice maybe the redemption of her silent past – let the paintings speak now.
The almost human size painting indicates a sense of immersion. Observers tend to fall in the illusion of a sweet and light landscape painting from the far. However, the closer they get, the more they realize the essence of the work – the carrier of the artist subconscious is not canvas, which is commonly used, but paper, fragile and brittle. Paper can breathe, through the unique textures and holes left by minced and flattened plant fibers. It allows the watercolor to flow naturally and aimlessly. Layers of layers of paper curled up as the watercolor passes - building undulating features. The paper was constantly cut, tear, crumpled and smoothed by the artist. However violent as it may sound like, the artist was gentle and restrained. Traces are too minor to notice, lost in the enormous color field, undetectable. Tissue paper are stick to the base by gelatin-mixed paint, covering up the essentially unnoticeable traces. Wrinkles are inevitable, like paper scars, silently shouting the hurt from the past.
2024
The watercolor carries the artist mind, wandering through the paper landscape. Bright and light colors soften the rough paper scars. Is it a whitewash or an art therapy? Heavily influenced by the Confucianism, the East philosophy believes the recovering should be quite and retained to oneself. Scars shall be covered, preferrable in bright colors – otherwise might be ominous. But it doesn’t mean there’s no resistance. Paints accumulate at the paper scars, forming darker color; watercolors bypass the wrinkles, highlighting the texture – damage cannot be covered, but only made more obvious.
Eyes, palms, hairs, and footprints scattered secretly in the picture, implying this is a journey of the "self". Observers will inadvertently encounter a pair of prying eyes, an embodiment of the artist. The artist gazes back at the observers while being observed – here are my scars, even though I hid them, but can you see? It seems to be an informal social agreement that we ignore the hurt and put on a smile. But there are always moments when we lose control - the self-awareness breaks free from the shackles, and the long-ignored pain hit hard, condensing into a momentary, euphemistic sadness captured by Wang in her work.
2023
