虛無深淵旁的舞蹈虛無深淵旁的舞蹈－雷雙

虛無深淵旁的舞蹈

Dance Beside the Abyss of Nothingness

我是一個以表達為生存的人，而繪畫是最令我沉迷的事，（其次是文字），那麼它就成為我表達感受、欲望、思考的載體。

I am a person who lives for expression. Painting is the thing I am most enthralled with (the second is words). It』s a medium for expressing my feelings, desires and thoughts.

其實我對藝術的熱情與追求正是對抗虛無感的方式，是為自己找到的活下去的理由。藝術是精神的顯現，於我來說繪畫創作也是精神自我燃燒過程，這個精神因找到與對象物的結合而創立了自己的修辭學，從而讓自由激烈的身心獲得一種外在的形態。

In fact, my passion for, and pursuit of, art is a way to combat a sense of emptiness and a reason to keep living. Art is a manifestation of spirit. For me, painting is also a process of spiritual 「self-immolation」. This spirit finds a way to combine with objects to create its own rhetoric, so that the free and intense body and mind can obtain an external form.

我將自己的藝術創作稱為虛無深淵旁的舞蹈，比如向日葵、玫瑰、荷花，還有抽象表現作品，它們是源自一個充滿生命虛無感的人轉化出的藝術現實,就如哲學家德勒茲所說：「人們一思考，便必然面對一個生與死、理智與瘋狂的線，這條線將你捲入，人們只能在這條巫師的線上思想……」我就是踏在這條巫師的線上，方生方死。

I call my artistic creation Dance Beside the Abyss of Nothingness. My works such as Sunflower, Rose, Lotus, and other abstract works, are derived from an artistic reality created by a person full of a sense of emptiness in life. The philosopher Deleuze said: 「when people think they inevitably face lines of life and death, reason and madness, which roll you up completely. People can only think along this sorcerer』s line」. I am stepping on this sorcerer』s line, onto this process of endless birth and endless death.

回顧自己的藝術，從九十年代初的黑白「瓶花」到隨後的紅與黑「大花系列」再到2000年以後的「荷」及「日食葵」，直至抽象表現及具象的」玫瑰」等，大都與黑白相關。我想，我思想的底色得益於黑夜的贈與，呈現在藝術上趨向於黑白即是一種有意無意的選擇，也許還與我血脈中流淌的祖父輩中國文人那黑色（即水墨）的血液有關。

Looking back at my artistic career – from the black and white Bottle Flower of the early 1990s to the red and black Big Flower series that followed, to the post-2000s』 Lotus and Sunflower, all the way to the abstract expressionist and figurative Rose – most are related to black and white. I think that the base colour of my thoughts benefits from the gift of the night. The tendency for black and white to appear in my art is a kind of half-conscious choice. Perhaps it is also related to the black blood (ink painting) of my literati ancestors flowing in my veins.

我的兩類抽象性創作：《光寂》屬於仰望天空，《褶皺或展開》及《大自然的和聲》屬於諦聽大地，都是由客觀對應物所激發出的對「未知」的體驗。

I have two kinds of abstract works: Light Silence pertains to looking up at the sky, while Fold or Unfold and Harmony of Nature pertain to listening to the earth. Both represent the experience of the “unknown” triggered by objective counterparts.

我的作品有着生命的風格，於是那生命可能性的創造使畫面的種種元素呈現出「非有機體生命的力量」。我贊同羅蘭巴特說的藝術風格不是刻意的選擇而是從作者的身體和經歷中產生。我的創作仿佛是通過身體的「受孕」，而使得作品源源不斷，而作品與作品之間有點像德勒茲說的「根莖」，相互糾纏、應對、連接，有時在某一個結點又開始自我繁殖。我不在繪畫中思考，我在繪畫中生存——盡管自由生成的思想常常賦予我靈感。

My works have the style of life, so the creation of life possibility causes all elements of the image to manifest “the power of non-organic life”. I agree with Roland Barthes that artistic style is not a deliberate choice, but a product of the author’s body and experience. My creation seems to be a continuous stream of works from the “conception” of the body. Those works are a bit like Deleuze』s “roots”, intertwined, responding to, and connected with, each other, and sometimes starting to self-reproduce at a certain node. I don’t 「think」 during the process of painting, I am 「living」 in this process – although free-form ideas inspire me from time to time.

（策展人、批評家）夏可君|雷雙的光之語：繪畫的貢獻（節選）

雷雙的藝術是真正意義上的本體繪畫，是純粹繪畫意義上的繪畫。

Xia Kejun (curator, critic) | Lei Shuang’s Words of Light: The Contribution of Painting (excerpt)

Lei Shuang’s art is real noumenon painting and pure painting.

從《向日葵》到《荷花》，在哀婉的深情與炙熱的堅定之間，繪畫獲得了內在的情感張力。雷雙的《葵首》，其激烈與昂揚的生命姿態令人過目難忘，甚至不同於梵高，這些頭顱一般的葵首如同被折斷了的生命之頭，是一個斷首、一個現代性的痛苦生命，我想梵高頂多是把耳朵砍掉了，而雷雙的作品中斷首和折斷的徹底性超過了男性，暗示出個體生命的疼痛和痛苦，體現出當代繪畫罕見的品質。而《玫瑰》系列則讓繪畫進入了靈魂的顫栗，這是哀歌中的挺拔，也是開放中的悲鳴，讓玫瑰的詠嘆獲得悲劇的詩意深度。

From Sunflower to Lotus, Lei Shuang’s painting expresses the inner emotional tension between a deep sense of sadness and fiery determination. The sunflowers, with their fierce and uplifting life poses, in her Sunflower Heads are unforgettable. Unlike Van Gogh』s painting, these sunflower heads are broken, pointing to a painful modern life. Van Gogh just cut off his ears; but the thorough brokenness of Lei Shuang’s work surpasses that of his. It suggests the pain and suffering of the individual』s life, manifesting a rare quality in contemporary painting. In the Rose series, the paintings are allowed to enter the soul』s trembling. This is the straight and straight in the lament, and a lament amid the openness so that the singing of rose can obtain the poetic depth of tragedy.

隨後雷雙又回到中國傳統水墨藝術的內在意境，來化解個體在現代性的虛無情感，讓個體的歌吟融會到大自然的浩瀚之中，創作出《大自然的和聲》，《有光系列》與《褶皺與展開》，這些作品讓雷雙更為關注油性繪畫的水性轉化，讓油性與水性、光感與氣化微妙地融合，雷雙探索了油畫語言在抽象構成與自然態勢之間共生的可能性。最為了不起的則是2016年開始的《光寂》系列，她讓中國繪畫重新獲得了與宇宙共感的神秘，這是具有啟示性的宇宙語言，是極為簡約但又極為美艷的線痕姿態。這是詩意的救贖，是詩意化的藝術宗教語言在當代最為恰切的表達。中國繪畫只有走向普遍性的宇宙語言才可能生成出自己的原理。

Later, Lei Shuang returned to the inner artistic concept of traditional Chinese ink painting to dissolve the individual’s sense of emptiness in modernity and let the individual’s singing blend in with the vastness of nature, creating Harmony of Nature, the Light series and Fold and Unfold. These works led Lei Shuang to pay more attention to the water-like transformation of oil painting, and subtly combine oil and water, light and gasification. Lei Shuang explored the possibility of oil painting language to coexist between abstract composition and a natural state. The most remarkable works are the Light Silence series which she started in 2016. In them, she enables Chinese painting to regain the mystery of that feeling of commonality with the universe. It』s an enlightening cosmic language, an extremely simple but extremely beautiful gesture of line and mark. It』s also poetic salvation, the most appropriate expression of poetic artistic and religious language in contemporary times. Only the universal language of Chinese painting can produce its own principles.

{中國藝術研究院美術研究所外國美術研究室主任、研究員}王端廷：抽象藝術的理性標準（節選）

Wang Duanting (Director and Researcher, Foreign Art Research Office, Institute of Fine Arts, Chinese Academy of Art ): The Rational Standard of Abstract Art (excerpt)

……在雷雙抽象表現主義風格的作品中，我最欣賞的是「光寂」系列，這一組作品的個性更鮮明，既有光又有色，既有想象又有理性。她所謂的理性主要體現在對螺旋形幾何曲線的運用，這個特別別致。我覺得這是中國所有的抽象表現主義繪畫中非常獨特的一種形式。我把這樣的作品稱為抽象，因為抽象是生命和宇宙本質的揭示。而在中國有大量憑直覺靠感性作畫的人，他們往往採用潑彩潑墨的方式來製作所謂的抽象畫，這種形式是通過色彩自然的流動，呈現出一種偶然性的形象，它仍然模擬的是自然界的外在表象，跟抽象藝術是背道而馳的。我甚至認為如果沒有一點理性的話，抽象繪畫還有什麼價值？

Among the works of Lei Shuang’s abstract expressionism style, I most appreciate the Light Silence series. This series has a more distinct personality, with light and colour, imagination and rationality. Her so-called rationality is mainly reflected in the use of spiral geometric curves, which is particularly unique. I think this is a very unique form among all the abstract expressionist paintings in China. I call such works abstract because this kind of abstraction is the revelation of the essence of life and the universe. In China, a large number of people rely on intuition and sensibility to paint. They often use the method of splashing colour and ink to make so-called abstract paintings. This form presents an accidental image through the natural flow of the colour. But it still simulates the external appearance of nature, which is contrary to abstract art. I even think that if there is no sense, what is the value of an abstract painting?

因此，我仍然要強調抽象藝術的標準，強調抽象藝術的理性。從這個角度來講，雷雙的「光寂」系列，它給中國的抽象表現主義繪畫提供了一個新的面貌，我覺得這是一種突破，是非常難能可貴的。抽象表現主義在西方已經變成了民俗化的一種繪畫風格，現在要創造出一種新的面貌非常不容易。那麼雷雙通過這樣一種幾何形的方式，為抽象表現主義打開了一個新的大門。

Therefore, I must still emphasize the standard of abstract art and the rationality of abstract art. From this point of view, Lei Shuang’s Light Silence series delivers a new look for Chinese abstract expressionist painting, which I think is a breakthrough and is very valuable. Abstract expressionism has become a style of folk painting in the West. It is not easy to create a new look now. Lei Shuang has opened a new door for abstract expressionism through this geometric style.

（中國藝術研究院美術研究所研究員）陶詠白：雷雙作品中的兩種形式（節選）

Tao Yongbai (Researcher, Institute of Fine Arts, Chinese Academy of Art) : Two Forms in Lei Shuang’s Works (excerpt)

從九十年代至今，很多藝術家只有作品數量的增厚，少有質的跨越，包括很多女畫家90年代以後就停滯了。像雷雙這樣在一個自我封閉的世界中，不斷挑戰，不斷的探索，不斷跨越，在新的維度上創作出新的繪畫形態的人極少。她從具象到意象再到抽象——從象徵性表現主義跨越到到抽象表現主義。今天她以燦爛輝煌的業績響譽畫壇。

From the 1990s till now, many artists have only increased the number of their works, with few qualitative leaps, including many female painters who have stagnated since the 1990s. There are few people in their own closed off world like Lei Shuang who constantly challenge, explore and leap forward, and create new painting forms in new dimensions. She』s gone from figurative to imagism and then to abstract – from symbolic expressionism to abstract expressionism. Today, she is famous for her brilliant achievements.

……雷雙的經典作品是2000以後的「向日葵」，以「向日葵」為象徵性的政治符號。比如1998年的《夜與晝》、2005年的《紅色書寫》、2007年的《日食葵》等。畫面中隱喻着矛盾、對抗、無奈、反諷，觸及了時代的傷痛，凸顯了人們的生存體驗。她畫的「向日葵」，以獨特的象徵性語言，爆發出巨大的震撼力。

… Lei Shuang’s classic work is the post-2000 Sunflowers, in which the sunflowers are a political symbol. 1998』s Night and Day, 2005』s Red Writing and 2007』s Sunflower, for example, symbolize contradiction, confrontation, helplessness, and irony. They reflect the pain of the times and highlight people’s experience of surviving. Her painting Sunflower, with its unique symbolic language, was tremendously powerful.

（不列顛哥倫比亞大學美術史系教授、藝術文化學者）曹星原：雷雙的畫是心波之光（節選）

Cao Xing Yuan (Professor, art and culture academic, Department of Art History, University of British Columbia): Lei Shuang’s Painting is the Light of the Mind Wave (excerpt)

在我看來，雷雙的這些光在作品上的表現是用自己心靈的色彩造型給觀者呈現一個她自己的內心之光。她是一位用光感在畫面呼喊的藝術家。這些光既無固定形態，又無固定光源，恰好表現了她內心無所不在、無以所投射的一種糾結、恐懼和執着。這些光系列的繪畫痕跡就是她與這些恐懼僵持下而產生的一種無聲的火花。這火花沒有溫度，也是無聲的，只是靜靜存在的。如同她的作品。你可以說她表現的是女性題材和心理；你也可以說她是無奈之下的女性的一種無言的無聲的傾吐，或甚至連溫度都沒有的一種掙扎。這些作品是一種尖銳而無形態的光感-—這種光感會在我們看這些作品的時候，侵蝕到我們視覺神經的每一根末梢而產生和她的作品的共鳴……她內心的人生之光和人生的糾結必須要放射出來。她的光系列，營造了一個她內心的心波場—你感受到了嗎？

As I see it, these lights in Lei Shuang’s works are to show the viewer her own inner light using a colour model of her own soul. She is an artist who uses the sense of light to cry out in the picture. These lights have neither a fixed form nor a fixed source, demonstrating the omnipresent and unprojectable feelings of entanglement, fear and perseverance within her mind. The light series of paintings are like silent sparks, the result of the stalemate between her and these fears. The sparks have no temperature, and they are silent too. They just exist quietly, like her works. You could say that she represents the theme and psychology of women. You could also say that she shows the speechless and silent outpouring of a helpless woman, or even a struggle devoid of temperature. These works are a sharp and shapeless sense of light – when viewing these works this sense of light erodes the ends of our visual nerves and produces a resonance with her works. The light of her inner life and the tangle of her life must be radiated. Her light series recreates the mind waves of in her innermost mind – do you feel them?

（中國美術館研究員）徐虹：「花」的力量 （節選）

Xu Hong (Researcher, National Art Museum of China): The Power of 「Flowers」 (excerpt)

我在觀察90年代女性藝術的時候，將雷雙的花作為一種象徵，將她的花與個體的生命相聯系，覺得她是用變異的方法描述女性的生命體驗以及女性成長過程。

Observing female art in the 1990s, I viewed Lei Shuang’s flowers as a symbol. I connected her flowers to the life of the individual. I believed that she was describing women』s experience of life and growing up in a variant way.

現在我仍然在用女性主義的方式觀看和分析這些作品，因為雷雙的葵花和梵高以及其他藝術家的完全不一樣，她是把它看做是自己生命的部分、身體組織的內容，情緒和生長背景

以及各種復雜結構一起組成一種生命網狀的平台，而不是僅僅一種觀念的象徵。「葵花系列」作品能夠代表雷雙藝術的特質，雷雙跟別人不一樣，她帶有自己的毛毛草草，風風火火的態勢，帶有自己對生活的體驗和感受，代表了中國女性在變化多端和快節奏的社會生活中的一種特徵。我們能從她的作品里感覺到她的煩躁，她對生命流失的惶惑和困惑，她對鮮血與生命的警醒和恐懼，以及她的敏感與勇氣……藝術為什麼打動人？它的情感從哪來？在這方面我要感謝雷雙，她向我們確定地展示了不能確定的生命歷程。

Today I still view and analyze these works in a feminist way because Lei Shuang’s Sunflower is totally different from Van Gogh and other artists’ sunflowers. She regards them as a part of her life, part of her bodily tissue, part of her emotions and background, as various complex structures that form a networked platform of life, rather than just a symbol or concept. The Sunflower series of works represent the characteristics of Lei Shuang’s art. Lei Shuang is different from other people. She has her own rash and reckless style, her own experience of life. She represents a characteristic of Chinese women living in this ever-changing, fast-paced society. We feel her impatience in her works, her perplexity and confusion about life flying by, her wariness about, and fear of, blood and life, her sensitivity and courage. Why does art move people? Where does this passion come from? For this, I would like to thank Lei Shuang, who has unquestionably shown us the ambiguous course of life.

（中央美術學院人文學院教授）宋曉霞：雷雙：性靈的舞者（節選）

Song Xiaoxia (Professor School of Humanities, Central Academy of Fine Arts)

Lei Shuang: A Dancer of Spirit (excerpt)

雷雙在繪畫風格上的發展，不完全是根基於對形式結構的追求而來。換言之，雷雙對藝術語言經年累月的探究，使她同時也在不斷地完成着自我啟蒙。舉凡《靈魂之花系列》、《日食葵系列》、《向里爾克致意系列》等等，都負有雷雙的「歷史」記憶和經驗現實。

The development of Lei Shuang’s painting style is not entirely based on the pursuit of formal structure. In other words, her long-term exploration of artistic language has simultaneously led her to self-enlightenment. The Flowers of the Soul series, Sunflower series, and Salute to Rilke series all bear Lei Shuang’s “historical” memory and experience reality.

……雷雙以「畫」與「話」並置，用「雙翼」尋找能夠體現精神力量的視覺形式，追求作品的精神能量，或許正是她從繪畫和文學的雙重視角對文人藝術家身份的自覺凝視。這樣的一種藝術創作狀態亦即生命存在的狀態，使雷雙超越中西繪畫傳統的鴻溝，在當代的語境中上溯了中國的「抒情傳統」。

…juxtaposing “painting” and “words”, Lei Shuang uses “wings” to find the visual form that can reflect spiritual power and pursues the spiritual energy of the works. Maybe it is her conscious gaze at the identity of literati artists from the perspective of painting and literature. Such a state of artistic creation, that is, the state of existence of life, allows Lei Shuang to transcend the gap between Chinese and Western painting traditions and trace back to Chinese “lyric tradition” in the contemporary context.