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Secrets 

2023-Mazlish Gallery-New York

 

Secrets: Loy Luo Solo Exhibition by Mazlish Gallery, New York

《秘密》: 纽约马兹利什画廊羅一个展

 

In the current solo exhibition at the Mazlish Gallery, the soulful paintings of Loy Luo evoke timeless songs with unknown origins and infinite possibilities. The abstract artworks have the depth and strength of stone combined with the lightness of air and space. Luo not only encourages her audience to look but also to listen and move in place as they view her art. The musicality comes from Luo’s background as a musician and her notations that are painted on the canvas recount ancient songs of friendship and love. To fully experience the evershifting color

, depth and space, the viewer is compelled to move from left to right and from up to down in order to grasp the dimensions described by the powerful presence of each artwork. 

此次在马兹利什画廊举办的个展中,羅一的深情画作唤起了源远流长、无限可能的永恒之歌。 这些抽象艺术作品具有石头的深度和力量,以及空气和空间的轻盈。 羅一不仅鼓励她的观众观看她的艺术作品,而且还鼓励他们倾听并移位欣赏。 作品的音乐性来自羅的音乐家背景,她在画布上画的乐谱讲述了古老的友谊和爱情歌曲。为了充分体验不断变化的色彩、深度和空间,观众被迫从左到右、从上到下移动,以掌握每件艺术品的强大存在所描述的维度。

All of Luo’s artworks present a vast, borderless space. In this floating, gravity-free world, Luo paints intangibles with such conviction that these abstractions are made manifest. With precise, deliberate brush marks, Luo creates an alchemic surface that changes according to the ambient light. In Half Diamond Sutra, the mineral green of the ground unites the suspended marks and objects as well as the calligraphic notations scratched into the patina. In Abstract Theater A8, the sense of the self suspended in the experience of gazing towards a rosy light peppered with floating forms that are at once bird-like yet solid. The vertigo created by this tilting space is caused by a depth of field that seems to accelerate with the passage of time. In the Rune series, the sensation of different spaces is more direct: in Rune 2, the painting evokes the sunlight through trees as one gazes upwards and in the painting Rune 3, the atmospheric blue places the viewer adrift in a celestial orb. 

羅一的所有作品都呈现出一种广阔无边的空间。 在这个漂浮的、无重力的世界里,羅一以一种信念来描绘无形的事物,使这些抽象变得明显。 她用精确、刻意的笔迹创造了一个根据环境光线而变化的炼金术表面。 在《半部金刚经》中,地面的矿物绿色将悬浮的痕迹和物体以及刻在铜锈上的书法符号结合在一起。 在抽象剧场A8中,自我意识悬浮在凝视玫瑰色光芒的体验中,其中点缀着漂浮的形态,这些形态既像飞鸟又像实体。 这种倾斜空间产生的眩晕感是由似乎随着时间的推移而加速的景深引起的。 在《符文》系列中,不同空间的感觉更加直接:在《符文2》中,当人们向上凝视时,这幅画唤起了透过树木的阳光;在《符文3》中,大气的蓝色让观者仿佛在天球中漂浮。

This cartographic quality continues through to the Heart Sutra series. In these paintings, there are luminous pigments lurking beneath a calming overlay of earth colors. It is in the incising of the paint through this glowing patina that Loy Luo reveals the depth of the painting’s journey. Calligraphic symbols rain down the canvases in a constant torrent of memories evoking stories, songs and poems. Some artworks, such as Heart Sutra I, go so far as to play with the light. As the viewer moves in front of the painting, the colors shift magically from black to gold and back to black. This optical illusion reveals and obscures its own meaning, cajoling the viewer to come close and then to step away in a continual “back and forth” sensation. It is only by remaining engaged with the artworks over time does the understanding of the inscribed words, the space and the shifting colors become clear. 

这种制图品质一直延续到《心经》系列中。 在这些画作中,夜光颜料潜伏在平静的大地色之下。 正是在通过这种发光的铜锈对颜料进行切割的过程中,羅一揭示了这幅画的旅程的深度。 书法符号如雨点般落在画布上,不断唤起故事、歌曲和诗歌的记忆。 有些作品,比如《心经一》,甚至玩弄了光。 当观看者在画作前移动时,颜色会神奇地从黑色变为金色,然后又回到黑色。 这种视错觉揭示并掩盖了其自身的含义,诱使观看者靠近,然后在持续的“来回”感觉中走开。 随着时间的推移,观众只有通过不断地与艺术品接触,对铭文、空间和色彩变化的理解才变得清晰。

The most recent series of artworks, Guqin, refer to the horizontal slide guitar native to China with which Loy Luo performs her music. In Guqin I and II, Luo writes the notes of a traditional folk song on a white field. Sometimes the notes are cut off abruptly by a jagged sanguine border like an ancient wound that refuses to heal. In both paintings, the texts seem to have been incised into white marble that is at once solid yet poised to vaporize like a cloud- just as the memory of music disappears just after it is performed. 

最新的艺术作品“古琴”系列,古琴指的是原产于中国的横滑吉他,羅一用它来演奏音乐。 在《古琴一》和《古琴二》中,羅在白色的田野上写下传统民歌的音符。 有时,音符会被锯齿状的边缘突然切断,就像一个无法愈合的古老伤口。 在这两幅画中,文字似乎被雕刻成白色大理石,既坚固又像云一样蒸发——就像音乐的记忆在演奏后就消失了一样。

 

The uniting force behind all of Loy Luo’s artworks is the immense strength and space she describes with her large and smaller abstract paintings. The alternating erasure and endurance of her mark making, the piercing luminosity of her colors and the power of implied telluric currents are all infused by Luo with a lightness of being. The inscriptions are manifested thoughts that rain down in the mind of the viewer like a half-forgotten melody as the artist presents an ancient tale, patinated with age and its accompanying palimpsests, conveying timeless instructions on how to love and live. 

羅一所有艺术作品背后的凝聚力是她用大型抽象画和较小的抽象作品所描述的巨大力量和空间。 她的标记制作的交替擦除和保持、她的色彩的穿透力和隐含的大地电流的力量都被羅一注入了一种存在的轻盈。 当艺术家呈现一个古老的故事时,这些铭文是显化的思想,像一段快被遗忘的旋律一样落在观众的脑海中,随着时间的流逝和随之而来的重写,传达了关于如何爱和生活的永恒指示。

 

Loy Luo Solo Show by Mazlish Gallery 

98 Mott Street, #600A NYC NY 10013 917-373-4550

www.mazlishgallery.com 

- Jen Dragon 

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Artist Statement:

The Secret of Palimpsest 

复写本之秘

 

When early humans first carved and painted on the walls of caves, they did not use written symbols to represent letters or words. Their art therefore did not distinguish between writing and painting, and we cannot discern whether these early artists intended to state a thought, express emotion or perhaps achieve some other purpose. When we try to “read” these ancient images, we cannot be sure whether to approach them as art or texts.

事实上,人类最早在墙上和地上刻画时是无法区分书写与绘画的,即,人类无法区分自己那样做的动机究竟是要陈述什么还是抒发情绪。 所以,我们也可以将绘画文本视为更广泛意义上的书写文本。

Millennia later, and in the aftermath of modernism, artists may employ multifaceted and multimedia approaches to their work, yielding a kind of palimpsest, layering symbolic and visual imagery to convey specific experiences, impressions and expressions of the artists’ lives. 

现代主义之后,绘画创作的非预设性、偶发性、多媒体、多层次等特点,  使得绘画更是具有了类似于重写本的特征。 正如积极的生活就像用重复的书写来试图打破命运预定的或惯性的轨迹一样,现代绘画真正的丰富性和创造力也是在对熟练和习惯的对抗中获得的。 不同的、真正有创造力的艺术家都将自己生活的具体经历和表达融入到再现过程中。

My “Palimpsest” series recovers some of the literal meaning of “writing”: here I focus on exploring the visual integration and transformation of written texts. On the one hand, the creative inspiration comes from the recognition of the visual nature of traditional Chinese calligraphy, and on the other hand, it draws on the visual transformation of textual elements in contemporary art. I introduce both textual visualizations with different backgrounds and motivations. Traditional calligraphy, as the initial visual application of words, is limited and dependent on the readability of words. The text references in modern collage make the readability and visuality of the text more diverse and vivid. It particularly highlights the ambiguity, polysemy, imagery, and symbolism of text, and combines various visual means to achieve creative intentions.

我的“重写本”系列恢复了一些“书写”的字面意义:我在这里重点探索书面文本的视觉整合和转化。 创作灵感一方面来自对中国传统书法视觉性的认知,另一方面是借鉴当代艺术中文字元素的视觉化转化。 我试图同时引入这两种具有不同背景和动机的文本视觉化。 传统书法艺术作为文字最初的视觉应用,是有限的、是依附于文字的阅读性的。而 现代拼贴艺术中的文本引用使文本的可读性和视觉性结合得更加多样和生动。 它尤其突出了文字文本的意义歧义性、多义性、形象性、符号指示性,并结合各种视觉手段来实现创作意图。

 "Palimpsest" works employ the more familiar texts adopted from the "Book of Songs[JP1] " and the "Buddhist Sutra," as well as less familiar works, such as centuries-old scores of music played on the guqin, an ancient Chinese string instrument. 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.

《重写本》系列使用了中国人熟悉的《诗经》文本和《佛经》文本,以及普通人不熟悉的古琴乐谱文本。 然而,当我使用这些文本时,我并不期望它们能够被正常阅读,而是让它们提供某种视觉可见可感的但又似乎并不言明的背景氛围。 即它是视觉的,却是意义并不确定的视觉。为此, 我用装置、浮雕、倒置、遮盖等手段来遮挡正常的阅读,使它们象哑谜一般既可读又不可读。 正如佛陀所说:不可说。 或许,只有置身于难以言说的境地,才能触及一点不可能得到的真相。

 

 

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​复写本-2,综合材料,Palimpsest-2, Oil on canvas, 48*48", 2023

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​复写本-1,综合材料,Palimpsest-2, Oil on canvas, 48*48", 2023

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符-3,布面油画,Rong-3, Oil on canvas, 48*48", 2022

符-2,布面油画,Rong-2, Oil on canvas, 48*48", 2022

符-4,布面油画,Rong-4, Oil on canvas, 48*48", 2022

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抽象剧场-A8,综合材料,Abstract Theater-A8, Mixed Media, 84*60“", 2021

半部金刚经,综合材料,Half Dimond Sutra, Mixed Media, 84*60“", 2023

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古琴-2,综合材料,Guqin-2, Mixed Media, 60*72“", 2023

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青瓷-3,综合材料, Celadon-3,  Mixed Media, 48*60“", 2021

白陶-1,综合材料,Earthenware-1,  Mixed Media, 48*60“", 2022

心经-1,综合材料,Heart Sutra-1,  Mixed Media, 60*72“", 2023

心经-2,综合材料,Heart Sutra-2 Mixed Media, 60*72“", 2023

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