中國(guó)人對(duì)于環(huán)境與自身的關(guān)系是內(nèi)外全盤(pán)融合的，內(nèi)心的情緒和外在可見(jiàn)的環(huán)境變化密不可分。時(shí)間和空間也不是絕對(duì)二分的——時(shí)間的變化，隨空間內(nèi)事物的變化而顯現(xiàn)。于是，時(shí)間、空間與人，三者結(jié)合為息息相關(guān)的整體。

Chinese people's understanding of the relationship between the natural environment and themselves is a comprehensive integration of internal and external factors, The inner emotions are inseparable from the visible changes in the external environment. Time and space are not absolutely binary eithe. The changes in time manifest with the changes in things in space. So, time, space, and people are combined into a related whole.

“象非相”，源自偈語(yǔ)“相非相”所指涉的關(guān)于認(rèn)知宇宙萬(wàn)物的無(wú)常與虛幻性的一種社會(huì)學(xué)想象。相對(duì)于無(wú)限大的宇宙，我們對(duì)客觀世界的認(rèn)知雖微不足道，但在“象”所呈現(xiàn)出的外在形質(zhì)，與“相”中所強(qiáng)調(diào)的內(nèi)在本質(zhì)之間，才建構(gòu)出“我”之所在。當(dāng)代藝術(shù)家們便是在對(duì)“我”的塑造與詮釋中，創(chuàng)作出了各自心中飽含熱忱的審美意象。

"FORMS FROM FORMLESSNESS" originates from the Buddhist verse. It refers to a sociological imagination about the impermanence and illusory nature of all things in the cognitive universe. Compared to the infinite universe, our understanding of the objective world may be insignificant. But it is only between the external form presented by the phenomenon and the internal essence emphasized in the truth that the existence of the self is constructed. Contemporary artists have created their own passionate aesthetic images in shaping and interpreting "self".

創(chuàng)作都與自己的經(jīng)驗(yàn)有關(guān)，那些激蕩著熱烈、苦悶、激昂、孤寂的情感，都滲透在了作品中。當(dāng)TA們將內(nèi)化后流淌出來(lái)的意識(shí)，最終凝結(jié)成世間獨(dú)有的藝術(shù)型質(zhì)時(shí)，尤如歷經(jīng)一場(chǎng)精神沐浴一般，完成了關(guān)于“我”的一次意味深長(zhǎng)的生命展演。TA們面對(duì)自己的作品時(shí)，亦會(huì)惶惑，那個(gè)集合了時(shí)間符碼的“不明之相”，竟能折疊時(shí)空，連綴起當(dāng)下的生命體驗(yàn)，成為某種自我鏡像，不斷照見(jiàn)和鼓舞著其創(chuàng)作的演進(jìn)。

Creation is all related to one's own experience. Those emotions that are passionate, depressed, passionate, and lonely permeate the artwork. When they condense the consciousness flowing out of their hearts into unique works of art in the world, as if undergoing a spiritual baptism, they have completed a meaningful exploration of themself. When facing their own works, they may also feel confused. The "FORMLESSNESS" that gathers time symbols can fold time and space, connecting the current life experience. Becoming a kind of self reflection, constantly illuminating and inspiring the evolution of their creations.

對(duì)觀者來(lái)說(shuō)，在直面這些“不明之相”時(shí)，也瞬時(shí)開(kāi)啟了一場(chǎng)隱性的時(shí)間之旅。經(jīng)由觀看藝術(shù)家的“象”，體認(rèn)藝術(shù)表達(dá)中豐富意涵的同時(shí)，觀者也為自己營(yíng)造出一個(gè)理想的眺望過(guò)去的“時(shí)間性視野”，在這個(gè)視野中，過(guò)去仍然存在于當(dāng)下。正因此，它喚醒了觀者的記憶，在各自經(jīng)驗(yàn)中，重組著遵循自我認(rèn)知的“相”。

For viewers, facing these "FORMLESSNESS" instantly opens up a hidden journey of time. By observing the artist's “FORMS”, one can appreciate the rich connotations in artistic expression, Viewers also create an ideal temporal perspective for themselves, in which the past still exists in the present. Therefore, it awakens the viewer's memory, recombining the "FORMS" that follows self-awareness in their respective experiences.

“象非相”，若能震顫不同的心房，抵達(dá)各自的心靈彼岸，或許也是“我”之所在，最有意義的時(shí)刻...

"FORMS FROM FORMLESSNESS". if one can tremble different hearts and reach their respective spiritual shores, it may also be the most meaningful moment where "self" is located.

文/李牧