大衛·布魯貝克(美國藝術評論家)“廢墟之下：詩與畫的小宇宙”——瀟瀟當代藝術展

       瀟瀟展示了詩畫在人類社會在關愛自然生命與毀滅力量的十字路口所扮演的角色。這個展覽是關于一種宇宙意志，它觀察并記錄著把藝術表達的水平源頭帶回地球。然而，《廢墟之下——詩與畫的小宇宙》中的眼睛并不只是一個遙不可及、看不見的超自然生物的眼睛。相反，正如瀟瀟在散文中所描述的，宇宙的意志依賴于一個鄰近的維度，其中包含成千上萬個獨特的個人的小宇宙，他們是自我意識的元宇宙。
       碎石給人帶來驚奇，因為它反映了每個小宇宙繼續藝術創造力的韌性和勇氣：“每首詩，每幅畫，都是一個藝術的虛擬世界，”瀟瀟寫道。每首詩，每幅畫都有助于打破現實的概念，讓你回到一個親密的身體空間，在那里，存在的形式被重新想象。因此，一個分享詩歌和繪畫的小宇宙成為社會批判的起源。在藝術作品中表達這樣的批評，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。
       瀟瀟用詩歌題寫《緊盯著》（2023）和《流金》（2023），向每一個生活在身邊的人類虛擬世界發出警示和警告: “緊盯著那一只罪惡的黑手，“當心！陶醉的深淵/一只天空的眼睛凝視著你。在“震耳轟鳴”的事件后創作的繪畫作品表達了一系列的情感和態度?！妒澜绲暮筮z癥》（2024）和《在絕望中升起》（2024）表達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的雙手之間的斗爭。十幅關于西藏神山、埃及金字塔的作品《西藏，唵嘛呢叭咪吽》（2024），在瀟瀟8月訪問開羅期間首次展出。作品傳達出了強烈的堅韌性和永恒的力量。在大自然中放生牦牛的形象是藝術自由的隱喻，埃及金字塔和中國西藏圣山的標志是兩個文明古國文化的象征與交融，以及跨越時空的詩意延伸。
       繪畫和詩歌的共同起源是瀟瀟在一篇短文的主題：“美麗的詩與繪畫:詩與畫的小宇宙。“ 她將詩歌描述為語言的繪畫，屬于非物質的、時間之外的夢想和想象；繪畫將詩歌投射到事物和色彩的維度中。繪畫是否在可測量的時間之外進行過？也許繪畫也關乎心靈和靈魂，當色彩投射出一個存在維度，在這個維度中，對事物的思考被清晰化，一個人的雙眼變成了心靈的元素。瀟瀟明確表示：她的繪畫是關于平行自然的維度，而不是局限于形式和色彩。為了尋求創新，她將詩歌置于她的當代繪畫中。在上苑致力于自由創作的氛圍激發了她有前途的各種實驗。
       在上苑藝術館展廳舊址上的“廢墟之下”的詩歌、繪畫和攝影作品，講述了自然界中相互交織的維度，讓我們每個人都能夠從各自的領域、空間，觀察和引領宇宙前進。瀟瀟的作品對生活在遙遠大陸和這塊土地上的小宇宙靈魂是一種啟發。這個在地球的廢墟環境中進行的展覽，幫助我們每一個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