In conventional thinking, the theater is understood as a space prepared for storytelling—a vessel for narrative, seemingly unrelated to abstraction. However, as abstract art has gained ground through its resistance to narrative, it has fundamentally altered the nature of the theater itself. The theater is no longer solely a narrative medium; it also becomes a site for the non-narrative. In fact, art itself can be seen as a form of theater. While modernist thinkers once compared artworks to living organisms capable of growth, I draw from Heidegger’s existential notion of Dasein—a being-toward-death that moves actively yet unknowingly through the forest path of existence. I see the act of artistic creation as a similarly active yet unpredictable journey. In this sense, the artwork is not only a living entity but also a process of becoming—an ongoing emergence. This openness in the creative process, along with the inspiration I draw from my spatial environment and relational interactions, leads me to understand art-making as the construction of an “open theater.” Creation is not merely a solitary act of production, but a staging of potentiality—a contemporary space of inclusion, openness, and communication. This open theater echoes what I believe to be one of the inner responsibilities of contemporary art. When a viewer stands before an abstract work and experiences a continual flow of shifting interpretations, it signals that the work is alive—vibrant, generative, and ever-unfolding. It continues to perform within the theater of perception. My “Series A” marked a pivotal return to abstraction after a year and a half of upheaval during the pandemic in the U.S., following a period of figurative expression. The lingering traces of geometry and minimalism reveal my enduring metaphysical obsession. In “Series B,” I embraced a heightened creative freedom—allowing intuition to guide the process, where spontaneity and flow became fruitful. “Series C” intensified a primal sensibility, evoking symbolic origins and guiding me directly into the development of the text-based series that followed.（Loy Luo)

在常规思维中，剧场被视为为故事服务的空间，是叙事的容器，与抽象无关。然而，抽象艺术通过反叙事的实践，早已在当代艺术场域中赢得了半壁江山，也因此改变了传统剧场的属性。剧场不再只是叙事的载体，也成为非叙事的场域，甚至可以说，艺术本身即是剧场。
 
如果说现代主义时期，人们将艺术作品比作能够“生长”的生命体，那么我更倾向于引入海德格尔“此在”（Dasein）中“向死而生”的存在之路，来诠释艺术创作的本质。那是一条如林中小径般的路径，充满不确定性，却又指向真实的主动存在。在这样的理解中，艺术创作既是一个自我生成的生命体，又是一个不断“在生成”的过程。
 
这一过程的开放性，加之我在创作空间中与环境、与他者的交互经验，让我愈发清晰地意识到：艺术创作不仅是个人生命状态的表达，更是一个“开放剧场”的建构过程。这种剧场式的生成，不再局限于传统意义上的观演关系，而是一种多维的、包容的、动态的关系网络。它强调艺术在当代的沟通性、参与性与责任感。
 
当观众站在一件抽象作品前，若这件作品能够持续地激发多重、变化的想象，便意味着它的生命力是繁盛而长久的——它依然在“剧场”之中继续发生。
 
从我在美国经历疫情封锁后重新回归抽象创作开始，A系列便成为一个重要转折。那段时间的动荡与具象表达之后，我重新回到几何与极简的痕迹中，延续了我一贯对形而上维度的执念。B系列则更加自由奔放，强调随手拾取、顺势而为的即兴性，是极度自由状态下的自然结果。C系列进一步强化了我对原始意象的回归与探索，并直接催生了后来的文字系列。(罗一）