Loy Luo is an artist based in New York. She received a master’s degree from the Beijing Institute of Fashion Technology and taught art at the Beijing Institute of Science and Technology Management.
Luo's focus has been painting and sculpting. She is also a concept and performance artist, a poet, a vocalist, and a writer. Her art has been exhibited or collected in China, Italy, France, the United States, Germany, Belgium, Sweden, Australia, and other countries.
罗一是一位居住在纽约的艺术家。 她曾获得北京服装学院硕士学位，并在北京科技管理学院教授艺术。罗的创作重点是绘画和雕塑。 她也是一位观念和表演艺术家、诗人、歌手和作家。 她的作品曾在中国、意大利、法国、美国、德国、比利时、瑞典、澳大利亚等国家展出或被收藏。
2017, Loy Luo was at Nasdaq. 罗一上画纳斯达克
In full view, the view is different.
众目睽睽，视而不同
2020,
To here, to there
"He" came suddenly,
I walked slowly
"He", like an unexpected wind,
blowed the sand away from the feet
and left the footprints in the void
I, lost in my lost
2020,
走到这，走到那
它来得突然
我走得缓慢
它，像不期而遇的风
吹落足上沙
抹去足下痕
我，迷失在我的迷失里
In a cleft, we are caveman.
When we go out, we become different caveman
洞内，我们是洞穴人
洞外，我们是不一样的洞穴人
However, when I use these texts, I do not expect them to be read normally, but rather to provide a kind of atmosphere that is visible but of uncertain meaning. To this end, I use installation, reliefs, inversions, coverings and other means to obscure normal reading, rendering them readable in some respects and unreadable in others. Perhaps only by immersing yourself in such ambiguity can you reach a little bit of the impossible truth.
然而，当我使用这些文本时，我并不期望它们能被正常地阅读，而是提供一种看得见但意义不确定的氛围。 为此，我用装置、浮雕、倒置、遮盖等手段来遮蔽正常的阅读，使之有的可读，有的不可读。 或许只有沉浸在这样的暧昧之中，才能触及一点不可能的真相。
The open house exhibition at Mana Contemporary gave me the opportunity to present sub-projects of the window project in a different light each time. For example, at the Open House in October, I did an exhibition called “Window Book.” In this exhibition, I mainly want to discuss the phenomenological relationship between meaning and image. That is to say, I turned over the hidden meaning (represented by words, to be precise, calligraphy with certain references) behind the external window of the phenomenon (represented by images), so that the image representing the phenomenon and the words representing the meaning juxtaposed on the same plane. I think this is a response to the trend of our time towards zero depth of meaning. (more)
Mana Contemporary 的开放日展让我有机会每次以不同的面貌展示窗项目的子项目。 例如，在十月的开放日展，我做了一个名为“Window Book”的展览。 在这次展览中，我主要想讨论意义与图像之间的现象学关系。 也就是说，我把现象这个外在窗口（以图像代表）背后隐藏的意义（以文字，确切说是以有一定指涉的书法为代表）翻转过来，使得代表现象的图像与代表意义的文字并置在同一平面上。 我认为这是对我们这个时代意义零深度趋势的回应。 （更多的）
Luo’s metaphysical preoccupations with human existence and her quiet, agile handling of the medium elicit a needling dis-ease in her viewer. Faceless and solitary, the boundaries between person and infrastructure becomes indissoluble, causing the figure to recede into the grid of the city. We know these solitary figures from our daily movements around the city and recognize our disengagement from them. As the artist centralizes faceless histories in her impersonal cityscapes; we grapple with a choice: do we intervene in the inevitable disintegration of these figures into their encroaching backgrounds or simply watch from afar? Luo's figures, often in stasis, stand outside of both the demands and rewards of conditioned human behavior, pushing us to question our accession to this system. (Adriana Furlong)
罗对人类存在的形而上学的关注以及她对媒介的安静、敏捷的处理引起了她的观众的一种刺痛的不适。 无面且孤独，人与基础设施之间的界限变得不可分割，导致人物退入城市的网格中。 我们从城市周围的日常活动中认识了这些孤独的人物，并认识到我们与他们的脱离。 当艺术家将无面者历史地集中在她客观的城市景观中时； 我们面临着一个选择：我们是否要干预这些人物不可避免地融入其不断侵占的背景，或者只是远远地观看？ 罗的人物常常处于停滞状态，游离于有条件的人类行为的要求和回报之外，促使我们质疑我们是否加入了这个系统。 （阿德里亚娜·弗隆饰演）
Both Luo and Nakagawa instinctively embody Attali’s theory. Making such art projects happen fulfills both themselves and others around them. Luo came to New York to find her identity and ended up inside the hot spot of a pandemic. She has been successful in finding herself through touching a hundred other souls. (Kyoko Sato)
罗和中川都本能地体现了阿塔利的理论。 实现这样的艺术项目既能满足他们自己，也能满足他们周围的其他人。 罗来到纽约寻找自己的身份，结果却陷入了疫情的重灾区。 她通过接触一百个其他的灵魂，成功地找到了自己。 （佐藤恭子）
When examining Loy’s works, which look kind of familiar, I was at a loss for words, as if I had stumbled into a still and gloomy night. The artist was trying to depict the entanglement between life and death, drawing the audience to her inner thoughts, which are either joyous or blue. However, the stillness I felt had little to do with her emotions, state of mind or subconsciousness. What I felt was transient, something that got solidified instantly or, to put it in another way, electrified; and there was no going back, no digression possible. The momentary stillness may be the most authentic feeling of existence. Through the dialogue in the work, the artist and the viewers engage not in a dialogue but in monologues of their own. In the stillness, soul’s volatility freezes, the language becomes hollow and the thoughts evasive. Alone do I exist. (Rong Jian)
观摩羅一的作品，似曾相见，一时无语，仿佛进入一个寂静的黑夜。作者试图描绘生死纠缠，让观者倾听到她或喜或悲的心声，而我达至的静穆无关她的情绪、状态和意念，只是瞬间的感受，在第一时间里被固化，就像过了电一样，稍纵即逝，甚至无法回味。静穆的即时感，可能就是一种最真实的存在感，作者和观者借助于作品的对话，并非限于互相倾诉，而是囿于各自的独白，在沉寂的语境里，心灵的动荡凝固了，语言空虚，思绪缥缈，惟有我在。
Luo is a person who likes questioning, whether they are directed towards other people or at herself. She has been studying and thinking about philosophy and exploring the inner spiritual world. Her artwork is a pursuit of the Tao, a process of enlightenment. This can be seen in her paintings, Untitled Memories series and Suspending series, and in her series of sculptures entitled Poem. In her works, feelings and thinking are one and the same, while senses and rationality are unified. When she paints, she looks for inspiration through using the paints and changing layers and layers, until she finds an ideal images. In reality, she feels suspended, probably because she fell into a hole by accident when she went swimming in her childhood. She could neither rise up to the surface nor sink to the bottom, and had to see yellow water bubbles flowing by. That near-death experience is the origin of her thinking behind the suspended state of life. Her Suspending series is an experssion of suspended state of her life experiences, through dreamlike hues and exploratory strokes. （Zhang Ning)
“羅一是一个不断设定问题的人，不论是向别人提问，还是向自己发问。她一直在对哲学进行学习和思考，一直在探究内心精神世界。她的艺术创作是对道性的追求，是悟道的过程，这在她的绘画作品《未命名之记忆》系列、《悬浮》系列以及雕塑作品《诗》系列中都有体现。在她的作品里感受和思考是一体的，感性和理性是统一的。她在绘画时，通过反复涂抹颜色来找感觉，不断地改，直到找到自己感到最舒服的状态。在现实生活中，她觉得自己一直处在悬浮状态，这或许是因为她小时候去河边游泳，不小心陷入水坑，上不去，也下不来，只能看着黄色的水泡在眼前漂，那种濒临死亡的悬浮状态成为今天对生命悬浮状态感悟的最初源起。她的《悬浮》系列是她通过梦幻的色彩和探索的笔触对生命悬浮状态的表达。” （张宁）
Artist Roy's painting installation "Windowside - Forest Flowers" deconstructs the traditional picture frame and expresses her thoughts on changes in art style and fashion. At the entrance of the exhibition hall where guests are flocking, the upward pointing arrow embedded in the work is like a warm greeter, announcing - Welcome to join the beautiful scenery tonight! However, since ancient times, the main thread of art history has always been tragedy. Even as gentle as Watteau, there is an unspeakable pathos hidden in his works. In fact, "Forest Flowers" is quoted from "Happy Encounter" by Li Yu, a master of the Later Tang Dynasty: The forest flowers in spring will soon wither. What can we do about the cold rain that comes in the morning and the wind that comes in the evening. How long can we stay drunk together with tears like rouge flowing? Life is endless like water flowing eastward.艺术家羅一Loy Luo的《窗边--林花》绘画装置以对传统画框的解构，表达了对艺术风格时尚变迁的思考。在宾客纷至沓来的展厅门口，作品内藏的斜向上的指示箭头像个热情的迎领者，宣言着——欢迎进入今夜美景良辰！然而，自古至今，艺术史的主线总是悲剧，即便轻柔曼妙如华托，其作品同样隐藏着难以言说的感伤。事实上，“林花”引自唐后主李煜的《相见欢》：林花谢了春红，太匆匆。无奈朝来寒雨晚来风。胭脂泪，相留醉，几时重。自是人生长恨水长东。
2023, Awakening, (L Private Gallery, New York)“醒来”（L私人画廊，纽约））
The sculptures and paintings in Weathering share the marks of time, with the elements of earth, gravity, and water both making and unmaking their forms. They witness the human weathering of personal and collective change, weathering errors, victories, loves, losses, communion and isolation. These three artists’ works weave a telescopic narrative of time, pushing and pulling between the consistency of history and its ability to change on a dime.(Benjamin Heller)
《Weathering》中的雕塑和绘画都带有时间的印记，土、重力和水的元素共同塑造和破坏了它们的形态。 他们见证了人类经历个人和集体的变化，经历错误、胜利、爱、失去、交流和孤立。 这三位艺术家的作品编织了一个伸缩式的时间叙事，在历史的一致性和瞬息万变的能力之间推拉。（本杰明·海勒）
Wang Chunchen said that the logical line of today’s Chinese painting begins like this: “China’s art education system is derived from the Western art education system. From the curriculum to the teaching content to the language training of painting, it is completely from Western tradition to modernity. Many painters (artists) no longer regard continuity of painting as the basic point of painting, but seek an independent and personalized painting language. Since this awareness and understanding is generally accepted by painters, it has formed It has comprehensive, rich, and different painting styles, appearances, methods, conceptual appeals, etc. Therefore, current paintings have multiple logical lines connecting the painter’s thinking and practice.”
王春辰说，今天中国画的逻辑脉络是这样开始的：“中国的美术教育体系源于西方的美术教育体系。 从课程设置到教学内容再到绘画语言训练，完全是从西方传统走向现代。 许多画家（艺术家）不再把绘画的连续性作为绘画的基本点，而是寻求一种独立的、个性化的绘画语言。 由于这种意识和理解被画家普遍接受，所以它形成了全面的、丰富的、不同的绘画风格、面貌、方法、观念诉求等，因此，现在的绘画有多重逻辑线连接着画家的思维和实践。
2019 Coesione Castle Exhibition, Roma Cosine 城堡展，罗马
