暂停
2015年-宁空间-北京
📖 概述
“悬浮”是罗伊·罗的首次 个展，展出了她早期重要的绘画和雕塑作品。展览标题不仅暗示了一种物理的悬浮状态，也隐喻着心理、语言、文化和哲学层面的不确定性。通过反复的书写和刮擦，罗伊·罗建立了一种根植于抽象的视觉逻辑。她的雕塑作品捕捉到了延展与静止、时间流动与空间固定之间的张力。
🗣️ 策展笔记
在暂停状态中追寻道的答案
张宁
Loy Luo是一位敏感的女性艺术家，喜欢思考。她本身就是一个矛盾体，我们可以感受到她内心的挣扎、思维的跳跃和纠结。她的性格呈现出多重矛盾，她感到自己被撕裂，这在她的作品中得到了充分的展现。她喜欢用丙烯颜料，因为它具有水的特性，她认为这是中国的；她也喜欢用油彩，因为它具有油性，她认为这是西方的。同时，她又用力地将两者融合在一起。她说：“我的理想是在西方和东方之间架起一座桥梁。我必须这样做，否则我会感到难过，因为我非常喜欢中国文化，也迷恋西方文化。所以，在某种程度上，我感到自己有责任。”
罗女士是一个喜欢质疑的人，无论这些质疑是针对他人还是自我。她一直在学习和思考哲学，探索内心的精神世界。她的艺术创作是对道的追寻，是一个觉悟的过程，这体现在她的绘画作品《无题记忆》系列和《悬浮》系列，以及名为《诗》的雕塑系列中。在她的作品中，感受与思考合二为一，感知与理性融为一体。她作画时，通过颜料的运用和层层叠加来寻找灵感，直到找到理想的画面。实际上，她有一种悬浮的感觉，这或许源于她小时候游泳时不小心掉进了一个洞里，既浮不上来，也沉不下去，只能看到黄色的水泡在水面上流淌。那次濒死体验正是她对生命悬浮状态思考的起源。她的《悬浮》系列作品以梦幻般的色彩和探索性的笔触，将她生命体验的悬浮状态表达出来。
以艺术的方式追寻道法，意义非凡。受灵感启发的艺术作品蕴含着强大的力量。我们的精神成长是一个不断学习、思考、质疑和寻求真理的过程。有时，我们的努力是漫无目的的、不确定的、悬而未决的。我认为，如果我们能够独立、持续地运用自身的智慧去探索真理，就一定能找到正确的答案。我喜欢罗老师对艺术的执着，欣赏她通过绘画所传达的精神思考和表达。我认为她的艺术创作是一个自我发现和反思的过程，也是一个寻求真理、解答内心疑问的过程。
✍️ 艺术家声明（摘录）
Void lingers in void, abundance vanishes inside abundance
——Transcend the Dilemma of Counterpoint.
By Loy Luo
I once spend over a year trying to emulate the way Gilles Deleuze interprets Francis Bacon in his book, “Logic of Sense”. I applied Nietzsche’s “Will of Power” to the interpretation of an artist and her art. In my judgment, the life of the artist resembles a fickle burning desire. I think that Nietzsche’s philosophy is equivalent to the tenet of her art. But what about the equivalent of mine? For many years, I have been trying to watch myself with the eyes of a bystander, continually looking for an answer to and experimenting with the notion of “Who am I?”, as if I had been deprived of the soul. Am I a fireball burning, as if duty-bound? I am not that strong. Am I self-cleansing water in this earthly world? I am not that calm. I agree to the transcending nature of Chinese art as expressed in Xu Fuguan’s writing. However, rising to the state of nature may seem egoistic and it is becoming of me to keep striving and to adhere to the Daoist thinking of inaction when I quit this world, without regret or feeling obliged? I think that all art practices are about transcending the spiritual constraints, and ridding of the secular burdens that our physical bodies are laden with, only what happens after the transcendence and how enlightened one becomes vary case by case.
Personally, I agree more with the Christian-style contemporary transcendence practice. It acknowledges the legitimacy of idolatry rejections, i.e. the return to an imperceptible omnipresent God. Thus it ushers in the daring experiment of spirits going beyond the material world without severing its connection with the human world, where it resides in the hearts. Men are chosen by God, and are a passage from materialism to spirituality.
Thanks to Pythagoras and Plato, the barriers between western religion and philosophy, and between the secular world and paradise, had been bridged. The division came later on. Arguing vehemently, Plato revealed whether art could transcend the earthly barrier and reach the spiritual realm. Later, in subsequent debates about varied art theories, art has always striven to reveal the truth through images, until imitation art failed in revealing the truth of the world. Oriental art realized earlier than its western counterpart that you cannot judge a book by its cover. However, its realization didn’t go far enough. The truth is, through the proclamation of Abstractionism, the challenge posed by Suprematism and the adventure of Conceptualism, the pure dance of free ideas has become a passion for serious artists. Malevich, Klein, Tàpies, Rothko, were soul dancers good at dancing in the sky, radiating breathtaking beauty and brilliance from within, which has energy in great abundance. Religion, philosophy, and art have not until recently made the drift towards or are moving to the glory of the Holy Trinity.
According to classical Chinese aesthetics and art ethos, all of these dilemmas will be resolved through spiritual transcendence. Nobody knows where we may go from there but the vibrant spiritual wings know where the wind blows.
"I am positive that in the center of the void, as in a human heart, there is a burning fire.” Re-reading Klein’s book, I am even more convinced that one’s art is his religion or philosophy. What one has inside shows on the canvas, and shapes the style. An artist’s character, changing or not, is something deeply engraved. In all ages, great masters have their own fantastic temperaments, which are not made. The temperament comes from within and is a barometer of how tolerant you are of the world, whether you go with or against the tide of life. It comes from your understanding of what it means to be a human being.
Perhaps my psychological traits, my being a Gemini or my AB blood type means that I will wear the shackles of contradiction throughout my life. That plus the two cultures that have nourished me --- and caught between the opposites of earth vs ocean, risk-taking vs caution, openness vs constraints, bright versus claustrophobic, calmness vs fierceness --- my life will be spent waging wars against my other self. Personality determines fate. I think that it is my fate to mitigate the seemingly impossible contradictions inside myself and integrate them into my art.
Void lingers in void; while abundance vanishes inside abundance. This poetic atmosphere is the atmosphere of painting, and the ultimate illustration of life and universe. East and West, philosophy and religion, human and the universe, the flesh and the spirit, void and abundance, existence and disappearance… like the ancient totem of Taiji, the two poles move against each other, circulate, encroach upon and permeate each other, repel and alienate each other. When art reaches such a stage, life will become indescribably expansive, fabulous and worthwhile.
🗣️ 精选评论
🎨 展出作品
初始化-1，混合材料，100*100cm，2018，已收藏
初始化-5，混合材料，100*100cm，2018，收藏
初始化-4，混合材料，100*100cm，2018，已收藏
标题 1
无题记忆-2，混合媒介，90*70cm，2014
浩瀚-1，综合材料，90*70cm，2014
无题记忆-6，混合媒介，90*70cm，2014
无题记忆-5，混合媒介，90*70cm，2015
异质体-2，混合材料，150*120cm，2015
异质体-1，混合媒介，150*120cm，2015
悬浮——5混合媒介， 150*120cm， 2015
开幕-2，混合材料，30*40cm，2014
开幕-1，混合材料，30*40cm，2014
覆盖物，综合材料，70*90cm，2014
根-1，混合媒介，120*150cm，2015
艺术家的理论探索
抽象艺术的历史渊源与内在逻辑——论艺术史与哲学的交汇
作者：Loy Luo
摘要：对罗伊·罗而言，抽象艺术并非现实主义崩塌的余波，而是其哲学上的超越。在其论文《抽象艺术的历史渊源与内在逻辑》中，她认为抽象源于对真理的形而上学渴望，根植于柏拉图的纯粹形式理想。她的“悬浮”系列反映了这段追寻本质的旅程——寻求超越物质表象的精神澄明。罗伊·罗将西方形而上学与自身东方感性相结合，将抽象称为艺术对源头的回归：一种“上帝从未离开艺术世界”的愿景。
🗣️ 重要文章
理性的隐匿与诗意的升华——罗伊·罗个展序
贾方舟
家方舟：前不久受邀参观罗艺工作室，我对她近两年艺术上的飞跃印象深刻。她仿佛在一番沉思和摇摆之后，突然领悟艺术真谛，顿悟成才，最终成为大师。虽然我知道艺术的发展总是突飞猛进，而非循序渐进，但她这种飞跃式的进步还是让我颇感震撼…… 👉阅读更多
Loy Luo的诗意视野
苏珊娜·拉塞尔
Suzanne：罗伊·罗的作品既不古板也不怀旧。在参观罗伊工作室之前，我常常怀疑抽象表现主义的可能性是否已经枯竭。但站在罗伊位于北京郊区的工作室里，看着她那些非具象的绘画和雕塑，以及它们对形式和色彩高度情感化的运用，我意识到抽象表现主义仍然是一种有意义的交流方式。…… 👉阅读更多
Loy Luo——静止中的变化
作者：Lennart Utterström
Lennart：娄艺的绘画艺术是关于什么的？描述她的油画作品的最佳方式或许是，一种在静止中变化的感觉。经过多年在管状油彩、画笔、刻刀以及不同质地的画布上摸索，她终于触及了内心的空灵——但这需要时间、努力以及持续不断的艰苦奋斗。如今，这位女士已经达到了一个平台，如同任何一位真正的艺术家一样，她有能力在一块拉伸的布料的粗糙表面上，触及并捕捉我们对生命中那些未曾言喻的理性感知…… 👉阅读更多
感官逻辑的抽象表达——论罗伊·罗的雕塑与绘画
作者：李向明
罗毅是一位才华横溢的女性艺术家，精通音乐、诗歌、书法和绘画。她为作品命名的方式赋予了丰富的想象空间，超越了理性和风格化的抽象。她运用作品名称中丰富的文学内涵，拓展了作品的深度。2014年的雕塑作品以《诗经》中的诗句命名，包括《愁绪》、《上树》、《径露》、《采浮萍》等。这些作品风格遒劲，充满着庄重、优雅和美的气息。…… 👉阅读更多
The Concealment of Rationality and the Rise of Poetic Senses
Preface to Loy Luo’s Exhibition
By Jia Fangzhou
I was deeply impressed by Luo Yi’s giant leap in art in the past two years when I was invited to her studio not long ago. It appeared that after some meditation and wavering, the artist suddenly hit upon the essence of art, gained the insight and matured into a master. Although I knew that art always develops by leaps and bounds, rather than grow gradually, I was quite taken aback by her great leap forward. This has confirmed my prediction two years earlier: “Although a relative newcomer to the art scene, Luo Yi will develop fast, thanks to her intellect and sensitivity. We shall soon see that her future is not a dream.”
I remember visiting her studio three years ago. At that time, I saw neither a unified style nor constancy in her paintings. Her works changed according to her mood: pure and simple when she was calm; passionate and exuberant when she was impetuous. In her latest works, however, there are no signs of impetuosity. Instead, we see passion being depicted in systematic, unobtrusive and rational narratives.
Luo Yi’s abstract works are based on her emotion and inner qualities: her involuntary philosophical thinking and reflective poetic expressions. As she is an inherently independent thinker and not a Neophile, her mind is always brimful of question marks and her own answers. It has become a ritua22l for her to make probing intellectual inquiries. However, this sheer obsession doesn’t go well with her poetic passions, resulting in disharmony of a kind. In her recent works, the disharmony has ebbed away, while the fiery passion has given way to the fiercely domineering philosophical thinking. As a result, her art has become well-balanced: minimalistic, pure and geometric, not revealing or obscuring anything beyond the confines of the canvas. In the repetitive process of production, there appears in her work features akin to steadiness, depth, richness and dignity. While minimalistic and pure on the whole, the works have not become a plane surface untouched by strokes. Her neat rational narrations are imbued with a rich poetic aroma, while the traces of her expressive strokes still hinder the artist from entering the realm of pure rationality. In her work, there still exists an inner conflict: the concealment of Rationality and the rise of poetic senses. That is why it has been difficult for the artist to surrender to sheer rationality.
To rid of impressionist strokes and acquire a pure sense of rational order, or pure logic, Luo Yi has adopted an approach most similar to that of Piet Cornelies Mondrian, among the many forerunners of impressionist artists. Mondrian’s neoplasticism is about representing natural truth. He sought to minimize expressive visual elements on the canvas, including the most reasonable narratives. Inclined to be simplistic, Mondrian paid particular attention to clarity, exactitude and transparency, and was especially fond of using lines. His objective was to reveal the truth behind form through analyzing its structure rather than present the objects in a new light. Luo Yi very much shares his abstract concepts.
As a graduate majoring in sculpture, Luo Yi is well trained both theoretically and in practice. Prior to the production of the oil paintings, “The Book of Song” series of sculptures presented her successful experimentation with abstract representations. The abstract human figures in her works were the result of her inner struggle and spiritual torment. As she put it, “Having helped me weather the vicissitudes of life, the works have again demonstrated that art is the salvation of the spirit, helping me to integrate my sentiments with a more expansive exploration of the universe.”
Luo Yi’s art is such a continuous process drifting from the transcendence of life’s vicissitudes to an expansive exploration of the cosmos.
Loy Luo’s Poetic Vision
By Suzanne Russell
Several months ago, I traveled from Copenhagen to Beijing to look at contemporary Chinese art. I bought a cheap bicycle and started out to visit galleries and artists’ studios with my best friend, who is also an artist and curator. We saw a wide range of work, mostly expressive figurative paintings made by women artists. What surprised me the most was the passion with which the good, and not so good, artwork was made. I did not expect Chinese artists to be so intense and individualistic in their expression.
The most interesting artist I visited was a fierce woman named Loy Luo. I visited her studio on my own, without my friend. Because we spoke together without a translator, I know very little about Luo Yi’s life. I learned that Luo Yi has a Master’s Degree from the Beijing Institute of Clothing Technology from the Department of Plastic Arts; she studied painting, sculpture, and art theory. I understood that Luo Yi has been making artwork fulltime for over ten years. But most what I know about Luo Yi, I know from experiencing her spacious studio in Black Bridge, watching her graciously prepare tea, and studying her powerful artwork. Luo Yi is a multi-talented artist, both a painter and a sculptor. She also boxes and plays the seven-stringed Guqin, a traditional Chinese instrument from the zither family. The fact that Luo Yi’s art studio has both a professional boxing bag and a delicate string-instrument reveals a lot about the sensitive artist who packs a hard punch with her artworks.
As an American artist born in the 1960s, my first exposure to art was through abstract art. I have feasted my eyes on the works of all the greatest abstract expressionist painters from Jackson Pollock, to Mark Rothko, to Willem de Kooning. I have appreciated the sculptures of David Smith, Louise Bourgeois and Isamu Noguchi. My favorite artists growing up were Joan Mitchell, Helen Frankenthaler and Susan Rothenberg. Abstract Expressionism was my first love, a way of experiencing the world that fills me with nostalgia.
But Loy Luo’s artwork is not old-fashioned or nostalgic. Before visiting Luo Yi’s studio, I often wondered if the possibilities of abstract expressionism had been exhausted. But standing in Luo Yi’s studio on the outskirts of Beijing, looking at her non-figurative paintings and sculptures with their highly emotional use of form and color, I could see that abstract expressionism is still a relevant way of communicating. Luo Yi’s artwork is original, engaging and very contemporary.
Luo Yi most recent paintings appear to be monochromatic, or with a limited color pallet, but they are not. Using many different colors, Luo Yi carefully layers the oil paint to produce textures that reveal bits or blobs of earlier layers. The colors are harmonious, the changes in color are subtle, and the experience of looking at the paintings is uplifting. Most of Luo Yi’s paintings measure around 150 x 120 cm., a bit smaller than many of the original Abstract Expressionists’ paintings. Both the size of the paintings and the thickness of the paint make the paintings feel compact.
Each painting takes great risks and, at the same time, reflects great restraint. Each painting requires careful looking and painting, lots of time, and many layers of paint. Each painting takes Luo Yi down an unfamiliar road to a place that she has never been before. I was not surprised to learn that Luo Yi listens to Mahler when she works. Each painting feels like a leap of faith.
Luo Yi most recent sculptures are also reminiscent of Abstract Expressionism, but, again, reflect the artist’s intensely original vision. The nine sculptures, each named after a poem from the Book of Songs, are both graceful and powerful. They are abstract, organic forms that elegantly twist and turn to suggest a figure, or a limb, or a fist. They are all approximately the same size, 60 centimeters tall. Every viewpoint and angle has been considered and tweaked so that the eye dances around the different surfaces in seemingly endless patterns. Like the poems in the Book of Songs, the group of sculptures serves as a study in rhythm, using elements of repetition and variation.
Luo Yi told me that when she starts to make an artwork, she sometimes feels like she is a prisoner in her own body and mind. As she works, she becomes less self-conscious and freer. By the time Luo Yi finishes an artwork, she is in perfect harmony with the universe and the artwork is the result of this artistic meditation. This is how I feel when I look at Luo Yi’s paintings and sculptures; their beauty moves me and I experience a deep feeling of well being and peace. What experience could be more valuable in the world today?
Loy Luo——静止中的变化
作者：Lennart Utterström
我无数次遇到中国画家——当然是男性——不仅声称自己是世界上最优秀的艺术家，更令人吃惊的是，他们国家竟然没有优秀的女性画家。然而，在这些男人瓜子般大小的世界里，这话虽然没错，但总的来说，就像这些男人创作的艺术一样乏味。然而，在中国极端性别歧视的艺术圈，这似乎是一个既定的事实：女性并非半边天。事实上，她们甚至连一朵云都算不上！原因显而易见：社会压力迫使她们在艺术创作上挣扎了数年之后，不得不放弃创作，沦为“普通”的普通人。中国传统的残酷回响在墙缝间回荡。
罗毅并非那种被人弯腰受罚的女性。四年前我们第一次见面，她就给我留下了深刻的印象，她是一位杰出的女性，一位令人惊艳的画家。与我在中国遇到的大多数男性艺术家相比，她过去和现在都比她的男同事们更加专注、勤奋，甚至更有天赋。她拥有一种叫做天赋的东西，一种叫做“才华”的特殊天赋！
娄艺的绘画艺术究竟在探讨什么？或许，用油画来描述她的油画，最贴切的方式莫过于一种在静止中不断变化着的感觉。经过多年与油彩、画笔、油画刀以及不同材质画布的反复尝试，她终于触及到了自己的内心世界——但这需要时间、努力以及持续不断的艰苦奋斗。如今，她已经达到了一个平台，如同任何一位真正的艺术家一样，能够在一块粗糙的画布上，触及并捕捉我们对生命中那些未曾言说的理性感知。
撇开早期形式主义的实验不谈，娄艺如今正处于形式主义和纯粹抽象主义之间的困境。“困境”并非指“被困”，而是指她游走于两种艺术流派之间，看似游刃有余的独特方式：事实上，她有时画抽象画，有时则画更为形式主义——或者更确切地说是“建筑”画。
如今，许多画家，或许太多了，都在创作抽象艺术。这其中有很多原因：许多人由于缺乏技巧、想法或正规训练，无法创作更具形式主义风格的绘画。抽象绘画成了一条捷径。结果往往是枯燥乏味，毫无趣味。
多年来，我一直对娄艺的抽象作品犹豫不决。这些画作过于“轻松”，与早期抽象表现主义艺术家，尤其是德国艺术家的作品相比，过于“独立”。但最近，情况发生了变化，娄艺显然形成了自己的声音。不妨花点时间坐下来，放松身心，专注于色域、颜料的有机结构，并欣赏线条背后辛勤的创作。如果你敏锐的话，你可能会有和我一样的感受：这位画家开启了通往她复杂内心世界的通道，各种阴影之间的斗争如同家常便饭。我非常了解这位艺术家，因此能够看到并感受到这种内心恐惧的深刻共鸣，这种恐惧反映在她复杂的个性中，以及她在画作中将自己表达为“我想要”与“我必须”之间对话的方式。
The Abstract Expressions of The Logic of Senses On Loy Luo’s Sculptures and Paintings
By Li Xiangming
In the past two years, Luo Yi’s works have mushroomed. Regardless of the art forms or mediums chosen, her many works all clearly convey a sense of conflict and an unstable state of mind the artist is in. Her earlier works are more like conduits of emotions; but since 2014, in general, the artist’s works have become more pensive and steady, gradually indicating a clear trajectory of her art career.
Behind the surface of forms lie the in-depth philosophical thoughts of this thinking woman artist. In especial, the new works in 2015 mark the artist’s opposing philosophical expressions based on the correlation between symbols and structures. Her works, particularly “Suspended” and “The Beginning”, consist of contrasting elements such as tangible vs intangible, long vs short, big vs small, point vs plane, bright vs grey and cold vs warm. These opposing elements are not used by the artist as technical logics in the treatment of paintings, rather she conveys her ceaseless probe by deliberately highlighting opposing relations. In one of her articles, she described herself thus: “For many years, I tried to observe myself as a bystander, and through pictures, forms and texts, constantly sought the answer to and examined the question of ‘Who am I?’, as if I had been deprived of my soul. This resulted in a valuable conclusion, i.e. the essence of art. She wrote with an air of self-confidence, “The greatest art practices in the world are about transcending the human soul and they all try to break free from the mundane secular world. The only difference is that beyond the transcendence, the ultimate goals vary. In fact, Luo Yi’s art is a carrier of her life, a carrier of the transcendence of her soul.
Simplistic and abstract, Luo Yi’s works are not the rational representations of pure visual senses, nor are they a revolution of sheer visual forms. When we think about abstract works, the earlier geometric abstraction and Suprematism as represented by Malevich, Kandinsky and Mondrian easily spring to mind. The simple structures of forms denote only the integration of colors with dots, lines and surfaces. That said, the innovations in form and discovery of earlier modernism blazed a new trail in visual art and as such are of epic significance. Luo Yi’s art may be deemed to be a dance upon the shoulders of giants. Although the narrations of the colors are plain and unadorned, like Malevich’s colored squares, they don’t lead us to such insipid abstract concepts as economic principles. Instead, they present to us an emotional world characterized by femininity, a world that is tender and soft, still and pensive, lonely and helpless, or full of desires. The symbolism of colors and its relationship with structures reveal the indescribable spiritual entanglements at the bottom of her heart. The sentiments can be best defined by the following poetic lines: the beauty and fragrance of plum blossom can only be felt by the hermit living by the West Lake.
Luo Yi is a talented woman artist skilled in music, poem, calligraphy and painting. The way she named the artworks has instilled ample room for imagination surpassing rational and stylistic abstractions. Using the rich literary connotations of the titles, she has expanded the depth of her works. The sculptural works in 2014 were named after titles in the Book of Songs, including Worn With Grief, Climbing the Hill with Trees, Dew on the Path, Gathering Duckweed, etc. Those works are characterized by powerful styles and have an exuberant air of dignity, grace and beauty.
Luo Yi’s sculptures, like those of Henry Moore’s, are abstractions of female bodies and touched with gentleness and subtlety. At the same time, her works have the chaos, splendor, dignity and plainness typically found in oriental cave arts. In terms of style, overall, her works seem to be springing up from a solid foundation, and are therefore imbued with tenacity and admirable willpower. The complementing use of fluid and vertical lines, and the changes in gravity and texture, have enhanced the richness and charms of her artworks, rendering them brilliant and rare as far as contemporary sculptures are concerned.
Deleuze argued that the logic of senses was the primitive unity of body without organs. I think that the “body without organs” is used to understand the senses of man, beyond the functions of a single organ. Human senses are the collaborative effort of multiple organs. When applied to art, senses are an alternative to pure visual art. That is what Luo Yi’s art is like. Her abstractions of the cognitive world are images converted into symbols from life experiences, sentiments and knowledge. She is one of the few woman artists who use abstract geometric forms to speak for themselves. Her independence and self-confidence propel her to strive and explore without cease. She has reached a height of her own and opened a window to her own abstract art world. I am confident that her future will shine even brighter. (Written at Bei Shang Ju)