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Sculpture:  Slave's Poems 2015

ARTIST'S WORDS ABOUT THE CONCEPT OF SCULPUTURES

By Loy Luo

Poem Series comprises nine sculptures respectively named Gathering Duckweed. Dew on the Path. On Service. Withered Leaves, Climbing the Hill with Trees, Worn With Grief, The Large Mound. A Flock of Flying Egrets and The Semi-Circle of Water.

The original concept was to express the notion that humans are born spiritual slaves, from which there is no escape. At that time, tree branches, stones and human figures intertwined in between were used to depict a castle of prisoners. However, after a ceaseless probe spanning six years, my frame of mind has calmed down and I feel reconciled with the status quo. Three years ago, in order to find spiritual nourishment and a breakthrough in art language, I went to see the most important sculptures in Chinese history. These included the Stele Forest in Xian, the Four Caves, and ancient sculptures in major Chinese museums. Alas, I was able to see with my own eyes the grandeur and splendor of ancient Chinese sculptures, testifying to the conclusion of my master's thesis: all great sculptures illustrate Daoist thinking.

The production of this series has once again proved art is the salvation of spirit. Art creation ultimately helps one rise above life's vicissitudes, and enables the integratiwon of private feelings into the expanse of the universe. In a self-introduction to his art, Francis Bacon says that smiles are one step further from shouts. But in my opinion, through pain comes the cradle of poems, and the poems in the Book of Songs were poems by slaves and the result of innocent thinking.


 
组雕《诗系列》创意自述

文/羅一

组雕《诗系列》,作品名称分别是:采蘋、行露、于役、障兮、防钴、素冠、卷阿、振鹭、洋水。共九件。

最初创意是为了表现人精神上生而为奴不可逃脱之命运,当时用了树枝石块和纠缠于其间的人体的意象。本想做一座囚城,然而,经过长 达六年的反复摸索探寻,心境渐平和,遂有一种尘归尘土归土的释然。三年前,为了寻找语言的突破和精神的养分,我专门实地游历考照 了中国雕塑艺术史上最重要的作品原物,西安碑林,四大石窟,各大博物馆的古代雕塑作品等等让我终于亲见亲验了中国古代雕塑的大气 磅礴,大巧若拙,实证了我研究生论文中的得自世界雕塑史研究的结论,即世界上最伟大的雕塑都具道性显现!

这一批作品的创作经历再次验证了艺术对于精神的救赎功能,艺术创作终究使最初个人命运的尖细苦涩得以超拔,并使个人的情感命运 入更宏阔的宇宙沉思。弗朗西斯·培根自述其作品时认为喊叫之上是微笑。而我认为,痛苦封冻后会有诗,诗经的诗是奴隶的诗,也是 无邪的诗。



Curators' articles


https://www.loyluo.art/post/the-abstract-expressions-of-the-logic-of-senses-on-loy-luo-s-sculptures-and-paintings


https://www.loyluo.art/post/loy-luo-s-poetic-vision-%E7%BE%85%E4%B8%80%E7%9A%84%E8%AF%97%E6%84%8F%E8%A7%86%E8%A7%89


https://www.loyluo.art/post/loy-luo-changing-within-a-standstill-%E7%BE%85%E4%B8%80%EF%BC%9A%E9%9D%99%E4%B8%AD%E4%B9%8B%E5%8F%98

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Dew on the Path, Bronze, 15*15*65cm, 2015
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On Service, Bronze, 15*15*65cm, 2015
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Gathering Duckweed, Bronze, 15*15*65cm, 2015
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The Large Mound, Bronze, 15*15*65cm, 2015
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Worn with Grief, Bronze, 15*15*65cm, 2015
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A Flock of Flying Egrets, Bronze, 15*15*65cm, 2015
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Withered Leaves, Bronze, 15*15*65cm, 2015
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Climbing the Hill with Trees, Bronze, 15*15*65cm, 2015
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The Semi-Circle of Water, Bronze, 15*15*65cm, 2015
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The Large Mound (partial enlargement)
Studio at Longtang Art District, Beijing. 2009


罗一,出生于中国,现居纽约,是一位致力于图像哲学与文化维度探究的当代艺术家。她的实践涵盖绘画、雕塑、装置、写作与空间行动,作品探索抽象语言与人类经验的关系,强调文化记忆、精神体验与跨学科生成。
她从传统哲思与文化记忆中挖掘图像的当代表达,系列作品如《Suspending》《Before the word》《Red Mountain》等,展开对抽象与文化重构的探索。她在纽约设立“罗一艺术空间”,将行动艺术转化为连接个体与社会的实践路径。
她的作品曾于中国、欧美重要机构展出,获国际藏家青睐。

本网站中署名为罗一的文字,其内容及所表达的思想版权均归艺术家 Loy Luo 所有;所有作品图像亦归罗一本人所有。欢迎在注明出处与署名的前提下分享或引用,仅限非商业用途,且不得擅自修改、删改或改编。如需进行商业使用、出版、翻译,或其他形式的改写与再创作,须事先取得艺术家本人授权。

本作品受 Creative Commons “署名-非商业性使用-禁止演绎”(BY-NC-ND)协议保护。

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