【上苑评述】大卫·布鲁贝克(美国艺术评论家)“废墟之下：诗与画的小宇宙”——潇潇当代艺术展
潇潇展示了诗画在人类社会在关爱自然生命与毁灭力量的十字路口所扮演的角色。这个展览是关于一种宇宙意志，它观察并记录着把艺术表达的水平源头带回地球。然而，《废墟之下——诗与画的小宇宙》中的眼睛并不只是一个遥不可及、看不见的超自然生物的眼睛。相反，正如潇潇在散文中所描述的，宇宙的意志依赖于一个邻近的维度，其中包含成千上万个独特的个人的小宇宙，他们是自我意识的元宇宙。
碎石给人带来惊奇，因为它反映了每个小宇宙继续艺术创造力的韧性和勇气：“每首诗，每幅画，都是一个艺术的虚拟世界，”潇潇写道。每首诗，每幅画都有助于打破现实的概念，让你回到一个亲密的身体空间，在那里，存在的形式被重新想象。因此，一个分享诗歌和绘画的小宇宙成为社会批判的起源。在艺术作品中表达这样的批评，有助于心灵回归自身自然生命力的根源，这是一种美，甚至是一种魅力。
潇潇用诗歌题写《紧盯着》（2023）和《流金》（2023），向每一个生活在身边的人类虚拟世界发出警示和警告: “紧盯着那一只罪恶的黑手，“当心！陶醉的深渊/一只天空的眼睛凝视着你。在“震耳轰鸣”的事件后创作的绘画作品表达了一系列的情感和态度。《世界的后遗症》（2024）和《在绝望中升起》（2024）表达了了失落和迷失的情绪。这四张照片记录了目睹的眼睛和张开的双手之间的斗争。十幅关于西藏神山、埃及金字塔的作品《西藏，唵嘛呢叭咪吽》（2024），在潇潇8月访问开罗期间首次展出。作品传达出了强烈的坚韧性和永恒的力量。在大自然中放生牦牛的形象是艺术自由的隐喻，埃及金字塔和中国西藏圣山的标志是两个文明古国文化的象征与交融，以及跨越时空的诗意延伸。
绘画和诗歌的共同起源是潇潇在一篇短文的主题：“美丽的诗与绘画:诗与画的小宇宙。“ 她将诗歌描述为语言的绘画，属于非物质的、时间之外的梦想和想象；绘画将诗歌投射到事物和色彩的维度中。绘画是否在可测量的时间之外进行过？也许绘画也关乎心灵和灵魂，当色彩投射出一个存在维度，在这个维度中，对事物的思考被清晰化，一个人的双眼变成了心灵的元素。潇潇明确表示：她的绘画是关于平行自然的维度，而不是局限于形式和色彩。为了寻求创新，她将诗歌置于她的当代绘画中。在上苑致力于自由创作的氛围激发了她有前途的各种实验。
在上苑艺术馆展厅旧址上的“废墟之下”的诗歌、绘画和摄影作品，讲述了自然界中相互交织的维度，让我们每个人都能够从各自的领域、空间，观察和引领宇宙前进。潇潇的作品对生活在遥远大陆和这块土地上的小宇宙灵魂是一种启发。这个在地球的废墟环境中进行的展览，帮助我们每一个人品尝与自然和彼此生活接触的基本根源。
2024年10月
“Under the Ruins - A Small Universe of Poetry and Painting”
——Xiao Xiao Contemporary Art Solo Exhibition
David Brubaker
Xiao Xiao shows the role of poetry and painting when human society is at crossroads between care for natural life and powers of destruction. This exhibition is about a cosmic will that watches and records hands that level sources of artistic expression back down into earth. Yet, the eyes in “Under the Ruins – A Small Universe of Poetry and Painting” are not simply those of a supernatural being that is distant and invisible. Instead, as Xiao Xiao describes in prose, the will of the universe depends on a neighboring dimension that contains thousands upon thousands of small universes of unique persons who are metaverses of self-awareness.
Rubble brings wonder as it is answered by resilience and the courage of each small universe to continue artistic creativity: “every poem, every painting, is an artistic metaverse,” Xiao Xiao writes. Every poem, every painting helps to fracture concepts of reality in a way that returns you to an intimate bodily space in a present where forms of existence are reimagined. Thus, a small universe sharing poetry and painting becomes an origin of social critique. There is a beauty and even charm when such a critique expressed in an artwork helps the heart return to the roots of its own natural vitality.
By inscribing Staring (2023) and Flowing Gold (2023) with poems, Xiao Xiao sends alerts and warnings to each human metaverse living alongside: “Keep your eyes fixed” to bear witness to hands of destruction, and “Be careful! The abyss of intoxication/ the eyes of the sky are fixed on you.” Paintings made after “the earsplitting racket” express a range of feelings and attitudes. Loss and disorientation are suggested by The Sequelae of the World (2024) and Despair (2024). The four photographs document the struggle between eyes that witness and hands that flatten. The ten works of Tibet: Hum Ma Ne Ba Mi Ou (2024), first exhibited during Xiao Xiao’s visit to Cairo in August, convey toughness and durability. The images of yaks released in nature are metaphors for artistic freedom, and signs of Pyramids in Egypt and sacred mountains of Tibet are uplifting symbols of cultural longevity and sharing.
The common origins of painting and poetry are topics in Xiao Xiao’s short essay “Beautiful Poetry and Painting: The Small Universe of Poetry and Pictures.” She describes poetry as the painting of language and as belonging to dreams and imaginings that are immaterial and outside time; painting projects poetry into the dimension of things and color. Is painting ever outside measurable time? Perhaps painting is also about heart and soul, when color projects a dimension of existence in which thoughts of things are cleared way and one’s own two eyes become instead an element of heart. Xiao Xiao makes it clear: her paintings are about dimensions of nature that are in parallel, not about forms and colors as such. Seeking innovation, she positions poems in her contemporary paintings. The atmosphere of dedicated free creation at Shangyuan inspires promising experiments.
The poems, paintings and photographs of “Under the Ruins” at the Shang Yuan Art Museum are about intertwining dimensions of nature that permit each of us watch and carry the universe forward from the space of our respective realms. Xiao Xiao’s work is an inspiration for souls of small universes living on continents and territories near and far. This exhibition in surroundings of leveled earth helps each of us to savor essential roots of living contact with nature and each other.
October 2024
