大衛(wèi)·布魯貝克(美國(guó)藝術(shù)評(píng)論家)“廢墟之下：詩(shī)與畫(huà)的小宇宙”——瀟瀟當(dāng)代藝術(shù)展

       瀟瀟展示了詩(shī)畫(huà)在人類(lèi)社會(huì)在關(guān)愛(ài)自然生命與毀滅力量的十字路口所扮演的角色。這個(gè)展覽是關(guān)于一種宇宙意志，它觀察并記錄著把藝術(shù)表達(dá)的水平源頭帶回地球。然而，《廢墟之下——詩(shī)與畫(huà)的小宇宙》中的眼睛并不只是一個(gè)遙不可及、看不見(jiàn)的超自然生物的眼睛。相反，正如瀟瀟在散文中所描述的，宇宙的意志依賴(lài)于一個(gè)鄰近的維度，其中包含成千上萬(wàn)個(gè)獨(dú)特的個(gè)人的小宇宙，他們是自我意識(shí)的元宇宙。
       碎石給人帶來(lái)驚奇，因?yàn)樗从沉嗣總€(gè)小宇宙繼續(xù)藝術(shù)創(chuàng)造力的韌性和勇氣：“每首詩(shī)，每幅畫(huà)，都是一個(gè)藝術(shù)的虛擬世界，”瀟瀟寫(xiě)道。每首詩(shī)，每幅畫(huà)都有助于打破現(xiàn)實(shí)的概念，讓你回到一個(gè)親密的身體空間，在那里，存在的形式被重新想象。因此，一個(gè)分享詩(shī)歌和繪畫(huà)的小宇宙成為社會(huì)批判的起源。在藝術(shù)作品中表達(dá)這樣的批評(píng)，有助于心靈回歸自身自然生命力的根源，這是一種美，甚至是一種魅力。
       瀟瀟用詩(shī)歌題寫(xiě)《緊盯著》（2023）和《流金》（2023），向每一個(gè)生活在身邊的人類(lèi)虛擬世界發(fā)出警示和警告: “緊盯著那一只罪惡的黑手，“當(dāng)心！陶醉的深淵/一只天空的眼睛凝視著你。在“震耳轟鳴”的事件后創(chuàng)作的繪畫(huà)作品表達(dá)了一系列的情感和態(tài)度。《世界的后遺癥》（2024）和《在絕望中升起》（2024）表達(dá)了了失落和迷失的情緒。這四張照片記錄了目睹的眼睛和張開(kāi)的雙手之間的斗爭(zhēng)。十幅關(guān)于西藏神山、埃及金字塔的作品《西藏，唵嘛呢叭咪吽》（2024），在瀟瀟8月訪問(wèn)開(kāi)羅期間首次展出。作品傳達(dá)出了強(qiáng)烈的堅(jiān)韌性和永恒的力量。在大自然中放生牦牛的形象是藝術(shù)自由的隱喻，埃及金字塔和中國(guó)西藏圣山的標(biāo)志是兩個(gè)文明古國(guó)文化的象征與交融，以及跨越時(shí)空的詩(shī)意延伸。
       繪畫(huà)和詩(shī)歌的共同起源是瀟瀟在一篇短文的主題：“美麗的詩(shī)與繪畫(huà):詩(shī)與畫(huà)的小宇宙。“ 她將詩(shī)歌描述為語(yǔ)言的繪畫(huà)，屬于非物質(zhì)的、時(shí)間之外的夢(mèng)想和想象；繪畫(huà)將詩(shī)歌投射到事物和色彩的維度中。繪畫(huà)是否在可測(cè)量的時(shí)間之外進(jìn)行過(guò)？也許繪畫(huà)也關(guān)乎心靈和靈魂，當(dāng)色彩投射出一個(gè)存在維度，在這個(gè)維度中，對(duì)事物的思考被清晰化，一個(gè)人的雙眼變成了心靈的元素。瀟瀟明確表示：她的繪畫(huà)是關(guān)于平行自然的維度，而不是局限于形式和色彩。為了尋求創(chuàng)新，她將詩(shī)歌置于她的當(dāng)代繪畫(huà)中。在上苑致力于自由創(chuàng)作的氛圍激發(fā)了她有前途的各種實(shí)驗(yàn)。
       在上苑藝術(shù)館展廳舊址上的“廢墟之下”的詩(shī)歌、繪畫(huà)和攝影作品，講述了自然界中相互交織的維度，讓我們每個(gè)人都能夠從各自的領(lǐng)域、空間，觀察和引領(lǐng)宇宙前進(jìn)。瀟瀟的作品對(duì)生活在遙遠(yuǎn)大陸和這塊土地上的小宇宙靈魂是一種啟發(fā)。這個(gè)在地球的廢墟環(huán)境中進(jìn)行的展覽，幫助我們每一個(gè)人品嘗與自然和彼此生活接觸的基本根源。

2024年10月

“Under the Ruins - A Small Universe of Poetry and Painting”
——Xiao Xiao Contemporary Art Solo Exhibition
David Brubaker

Xiao Xiao shows the role of poetry and painting when human society is at crossroads between care for natural life and powers of destruction. This exhibition is about a cosmic will that watches and records hands that level sources of artistic expression back down into earth. Yet, the eyes in “Under  the Ruins – A Small Universe of Poetry and Painting” are not simply those of a supernatural being that is distant and invisible. Instead, as Xiao Xiao describes in prose, the will of the universe depends on a neighboring dimension that contains thousands upon thousands of small universes of unique persons who are metaverses of self-awareness.
Rubble brings wonder as it is answered by resilience and the courage of each small universe to continue artistic creativity: “every poem, every painting, is an artistic metaverse,” Xiao Xiao writes. Every poem, every painting helps to fracture concepts of reality in a way that returns you to an intimate bodily space in a present where forms of existence are reimagined. Thus, a small universe sharing poetry and painting becomes an origin of social critique. There is a beauty and even charm when such a critique expressed in an artwork helps the heart return to the roots of its own natural vitality.
By inscribing Staring (2023) and Flowing Gold (2023) with poems, Xiao Xiao sends alerts and warnings to each human metaverse living alongside: “Keep your eyes fixed” to bear witness to hands of destruction, and “Be careful! The abyss of intoxication/ the eyes of the sky are fixed on you.” Paintings made after “the earsplitting racket” express a range of feelings and attitudes. Loss and disorientation are suggested by The Sequelae of the World (2024) and Despair (2024). The four photographs document the struggle between eyes that witness and hands that flatten. The ten works of Tibet: Hum Ma Ne Ba Mi Ou (2024), first exhibited during Xiao Xiao’s visit to Cairo in August, convey toughness and durability. The images of yaks released in nature are metaphors for artistic freedom, and signs of Pyramids in Egypt and sacred mountains of Tibet are uplifting symbols of cultural longevity and sharing.  
The common origins of painting and poetry are topics in Xiao Xiao’s short essay “Beautiful Poetry and Painting: The Small Universe of Poetry and Pictures.” She describes poetry as the painting of language and as belonging to dreams and imaginings that are immaterial and outside time; painting projects poetry into the dimension of things and color.  Is painting ever outside measurable time? Perhaps painting is also about heart and soul, when color projects a dimension of existence in which thoughts of things are cleared way and one’s own two eyes become instead an element of heart.  Xiao Xiao makes it clear: her paintings are about dimensions of nature that are in parallel, not about forms and colors as such.  Seeking innovation, she positions poems in her contemporary paintings.  The atmosphere of dedicated free creation at Shangyuan inspires promising experiments.   
The poems, paintings and photographs of “Under the Ruins” at the Shang Yuan Art Museum are about intertwining dimensions of nature that permit each of us watch and carry the universe forward from the space of our respective realms. Xiao Xiao’s work is an inspiration for souls of small universes living on continents and territories near and far. This exhibition in surroundings of leveled earth helps each of us to savor essential roots of living contact with nature and each other.

October 2024