雷双：虚无深渊旁的舞蹈
时间：2022-10-21 作者：阿特网 来源：阿特网
我是一个以表达为生存的人，而绘画是最令我沉迷的事，（其次是文字），那么它就成为我表达感受、欲望、思考的载体。
其实我对艺术的热情与追求正是对抗虚无感的方式，是为自己找到的活下去的理由。艺术是精神的显现，于我来说绘画创作也是精神自我燃烧过程，这个精神因找到与对象物的结合而创立了自己的修辞学，从而让自由激烈的身心获得一种外在的形态。
我将自己的艺术创作称为虚无深渊旁的舞蹈，比如向日葵、玫瑰、荷花，还有抽象表现作品，它们是源自一个充满生命虚无感的人转化出的艺术现实,就如哲学家德勒兹所说：“人们一思考，便必然面对一个生与死、理智与疯狂的线，这条线将你卷入，人们只能在这条巫师的线上思想……”我就是踏在这条巫师的线上，方生方死。
回顾自己的艺术，从九十年代初的黑白“瓶花”到随后的红与黑“大花系列”再到2000年以后的“荷”及“日食葵”，直至抽象表现及具象的”玫瑰”等，大都与黑白相关。我想，我思想的底色得益于黑夜的赠与，呈现在艺术上趋向于黑白即是一种有意无意的选择，也许还与我血脉中流淌的祖父辈中国文人那黑色（即水墨）的血液有关。
我的两类抽象性创作：《光寂》属于仰望天空，《褶皱或展开》及《大自然的和声》属于谛听大地，都是由客观对应物所激发出的对“未知”的体验。
我的作品有着生命的风格，于是那生命可能性的创造使画面的种种元素呈现出“非有机体生命的力量”。我赞同罗兰巴特说的艺术风格不是刻意的选择而是从作者的身体和经历中产生。我的创作仿佛是通过身体的“受孕”，而使得作品源源不断，而作品与作品之间有点像德勒兹说的“根茎”，相互纠缠、应对、连接，有时在某一个结点又开始自我繁殖。我不在绘画中思考，我在绘画中生存——尽管自由生成的思想常常赋予我灵感。
I am a person who lives for expression. Painting is the thing I am most enthralled with (the second is words). It’s a medium for expressing my feelings, desires and thoughts.
In fact, my passion for, and pursuit of, art is a way to combat a sense of emptiness and a reason to keep living. Art is a manifestation of spirit. For me, painting is also a process of spiritual “self-immolation”. This spirit finds a way to combine with objects to create its own rhetoric, so that the free and intense body and mind can obtain an external form.
I call my artistic creation Dance Beside the Abyss of Nothingness. My works such as Sunflower, Rose, Lotus, and other abstract works, are derived from an artistic reality created by a person full of a sense of emptiness in life. The philosopher Deleuze said: “when people think they inevitably face lines of life and death, reason and madness, which roll you up completely. People can only think along this sorcerer’s line”. I am stepping on this sorcerer’s line, onto this process of endless birth and endless death.
Looking back at my artistic career – from the black and white Bottle Flower of the early 1990s to the red and black Big Flower series that followed, to the post-2000s’ Lotus and Sunflower, all the way to the abstract expressionist and figurative Rose – most are related to black and white. I think that the base colour of my thoughts benefits from the gift of the night. The tendency for black and white to appear in my art is a kind of half-conscious choice. Perhaps it is also related to the black blood (ink painting) of my literati ancestors flowing in my veins.
I have two kinds of abstract works: Light Silence pertains to looking up at the sky, while Fold or Unfold and Harmony of Nature pertain to listening to the earth. Both represent the experience of the "unknown" triggered by objective counterparts.
My works have the style of life, so the creation of life possibility causes all elements of the image to manifest "the power of non-organic life". I agree with Roland Barthes that artistic style is not a deliberate choice, but a product of the author's body and experience. My creation seems to be a continuous stream of works from the "conception" of the body. Those works are a bit like Deleuze’s "roots", intertwined, responding to, and connected with, each other, and sometimes starting to self-reproduce at a certain node. I don't “think” during the process of painting, I am “living” in this process - although free-form ideas inspire me from time to time.
雷双在绘画风格上的发展，不完全是根基于对形式结构的追求而来。换言之，雷双对艺术语言经年累月的探究，使她同时也在不断地完成着自我启蒙。举凡《灵魂之花系列》、《日食葵系列》、《向里尔克致意系列》等等，都负有雷双的“历史”记忆和经验现实。
……雷双以“画”与“话”并置，用“双翼”寻找能够体现精神力量的视觉形式，追求作品的精神能量，或许正是她从绘画和文学的双重视角对文人艺术家身份的自觉凝视。这样的一种艺术创作状态亦即生命存在的状态，使雷双超越中西绘画传统的鸿沟，在当代的语境中上溯了中国的“抒情传统”。
The development of Lei Shuang's painting style is not entirely based on the pursuit of formal structure. In other words, her long-term exploration of artistic language has simultaneously led her to self-enlightenment. The Flowers of the Soul series, Sunflower series, and Salute to Rilke series all bear Lei Shuang's "historical" memory and experience reality.
…juxtaposing "painting" and "words", Lei Shuang uses "wings" to find the visual form that can reflect spiritual power and pursues the spiritual energy of the works. Maybe it is her conscious gaze at the identity of literati artists from the perspective of painting and literature. Such a state of artistic creation, that is, the state of existence of life, allows Lei Shuang to transcend the gap between Chinese and Western painting traditions and trace back to Chinese "lyric tradition" in the contemporary context.
Professor School of Humanities, Central Academy of Fine Arts
Lei Shuang: A Dancer of Spirit (excerpt)
雷双的艺术是真正意义上的本体绘画，是纯粹绘画意义上的绘画。
从《向日葵》到《荷花》，在哀婉的深情与炙热的坚定之间，绘画获得了内在的情感张力。雷双的《葵首》，其激烈与昂扬的生命姿态令人过目难忘，甚至不同于梵高，这些头颅一般的葵首如同被折断了的生命之头，是一个断首、一个现代性的痛苦生命，我想梵高顶多是把耳朵砍掉了，而雷双的作品中断首和折断的彻底性超过了男性，暗示出个体生命的疼痛和痛苦，体现出当代绘画罕见的品质。而《玫瑰》系列则让绘画进入了灵魂的颤栗，这是哀歌中的挺拔，也是开放中的悲鸣，让玫瑰的咏叹获得悲剧的诗意深度。
随后雷双又回到中国传统水墨艺术的内在意境，来化解个体在现代性的虚无情感，让个体的歌吟融会到大自然的浩瀚之中，创作出《大自然的和声》，《有光系列》与《褶皱与展开》，这些作品让雷双更为关注油性绘画的水性转化，让油性与水性、光感与气化微妙地融合，雷双探索了油画语言在抽象构成与自然态势之间共生的可能性。最为了不起的则是2016年开始的《光寂》系列，她让中国绘画重新获得了与宇宙共感的神秘，这是具有启示性的宇宙语言，是极为简约但又极为美艳的线痕姿态。这是诗意的救赎，是诗意化的艺术宗教语言在当代最为恰切的表达。中国绘画只有走向普遍性的宇宙语言才可能生成出自己的原理。
Lei Shuang's art is real noumenon painting and pure painting.
From Sunflower to Lotus, Lei Shuang's painting expresses the inner emotional tension between a deep sense of sadness and fiery determination. The sunflowers, with their fierce and uplifting life poses, in her Sunflower Heads are unforgettable. Unlike Van Gogh’s painting, these sunflower heads are broken, pointing to a painful modern life. Van Gogh just cut off his ears; but the thorough brokenness of Lei Shuang's work surpasses that of his. It suggests the pain and suffering of the individual’s life, manifesting a rare quality in contemporary painting. In the Rose series, the paintings are allowed to enter the soul’s trembling. This is the straight and straight in the lament, and a lament amid the openness so that the singing of rose can obtain the poetic depth of tragedy.
Later, Lei Shuang returned to the inner artistic concept of traditional Chinese ink painting to dissolve the individual's sense of emptiness in modernity and let the individual's singing blend in with the vastness of nature, creating Harmony of Nature, the Light series and Fold and Unfold. These works led Lei Shuang to pay more attention to the water-like transformation of oil painting, and subtly combine oil and water, light and gasification. Lei Shuang explored the possibility of oil painting language to coexist between abstract composition and a natural state. The most remarkable works are the Light Silence series which she started in 2016. In them, she enables Chinese painting to regain the mystery of that feeling of commonality with the universe. It’s an enlightening cosmic language, an extremely simple but extremely beautiful gesture of line and mark. It’s also poetic salvation, the most appropriate expression of poetic artistic and religious language in contemporary times. Only the universal language of Chinese painting can produce its own principles.
Lei Shuang's Words of Light: The Contribution of Painting (excerpt)
The Ripples of The Lotus—The Light Series
……在雷双抽象表现主义风格的作品中，我最欣赏的是“光寂”系列，这一组作品的个性更鲜明，既有光又有色，既有想象又有理性。她所谓的理性主要体现在对螺旋形几何曲线的运用，这个特别别致。我觉得这是中国所有的抽象表现主义绘画中非常独特的一种形式。我把这样的作品称为抽象，因为抽象是生命和宇宙本质的揭示。而在中国有大量凭直觉靠感性作画的人，他们往往采用泼彩泼墨的方式来制作所谓的抽象画，这种形式是通过色彩自然的流动，呈现出一种偶然性的形象，它仍然模拟的是自然界的外在表象，跟抽象艺术是背道而驰的。我甚至认为如果没有一点理性的话，抽象绘画还有什么价值？
因此，我仍然要强调抽象艺术的标准，强调抽象艺术的理性。从这个角度来讲，雷双的“光寂”系列，它给中国的抽象表现主义绘画提供了一个新的面貌，我觉得这是一种突破，是非常难能可贵的。抽象表现主义在西方已经变成了民俗化的一种绘画风格，现在要创造出一种新的面貌非常不容易。那么雷双通过这样一种几何形的方式，为抽象表现主义打开了一个新的大门。
中国艺术研究院美术研究所外国美术研究室主任、研究员
Among the works of Lei Shuang's abstract expressionism style, I most appreciate the Light Silence series. This series has a more distinct personality, with light and colour, imagination and rationality. Her so-called rationality is mainly reflected in the use of spiral geometric curves, which is particularly unique. I think this is a very unique form among all the abstract expressionist paintings in China. I call such works abstract because this kind of abstraction is the revelation of the essence of life and the universe. In China, a large number of people rely on intuition and sensibility to paint. They often use the method of splashing colour and ink to make so-called abstract paintings. This form presents an accidental image through the natural flow of the colour. But it still simulates the external appearance of nature, which is contrary to abstract art. I even think that if there is no sense, what is the value of an abstract painting?
Therefore, I must still emphasize the standard of abstract art and the rationality of abstract art. From this point of view, Lei Shuang's Light Silence series delivers a new look for Chinese abstract expressionist painting, which I think is a breakthrough and is very valuable. Abstract expressionism has become a style of folk painting in the West. It is not easy to create a new look now. Lei Shuang has opened a new door for abstract expressionism through this geometric style.
Foreign Art Research Office
The Rational Standard of Abstract Art (excerpt)
Red and Black(1995 Gushing—2013 Sunflower)
从九十年代至今，很多艺术家只有作品数量的增厚，少有质的跨越，包括很多女画家90年代以后就停滞了。像雷双这样在一个自我封闭的世界中，不断挑战，不断的探索，不断跨越，在新的维度上创作出新的绘画形态的人极少。她从具象到意象再到抽象——从象征性表现主义跨越到到抽象表现主义。今天她以灿烂辉煌的业绩响誉画坛。
……雷双的经典作品是2000以后的“向日葵”，以“向日葵”为象征性的政治符号。比如1998年的《夜与昼》、2005年的《红色书写》、2007年的《日食葵》等。画面中隐喻着矛盾、对抗、无奈、反讽，触及了时代的伤痛，凸显了人们的生存体验。她画的“向日葵”，以独特的象征性语言，爆发出巨大的震撼力。
From the 1990s till now, many artists have only increased the number of their works, with few qualitative leaps, including many female painters who have stagnated since the 1990s. There are few people in their own closed off world like Lei Shuang who constantly challenge, explore and leap forward, and create new painting forms in new dimensions. She’s gone from figurative to imagism and then to abstract – from symbolic expressionism to abstract expressionism. Today, she is famous for her brilliant achievements.
... Lei Shuang's classic work is the post-2000 Sunflowers, in which the sunflowers are a political symbol. 1998’s Night and Day, 2005’s Red Writing and 2007’s Sunflower, for example, symbolize contradiction, confrontation, helplessness, and irony. They reflect the pain of the times and highlight people's experience of surviving. Her painting Sunflower, with its unique symbolic language, was tremendously powerful.
Researcher, Institute of Fine Arts
Two Forms in Lei Shuang's Works (excerpt)
在我看来，雷双的这些光在作品上的表现是用自己心灵的色彩造型给观者呈现一个她自己的内心之光。她是一位用光感在画面呼喊的艺术家。这些光既无固定形态，又无固定光源，恰好表现了她内心无所不在、无以所投射的一种纠结、恐惧和执着。这些光系列的绘画痕迹就是她与这些恐惧僵持下而产生的一种无声的火花。这火花没有温度，也是无声的，只是静静存在的。如同她的作品。你可以说她表现的是女性题材和心理；你也可以说她是无奈之下的女性的一种无言的无声的倾吐，或甚至连温度都没有的一种挣扎。这些作品是一种尖锐而无形态的光感-—这种光感会在我们看这些作品的时候，侵蚀到我们视觉神经的每一根末梢而产生和她的作品的共鸣……她内心的人生之光和人生的纠结必须要放射出来。她的光系列，营造了一个她内心的心波场—你感受到了吗？
As I see it, these lights in Lei Shuang's works are to show the viewer her own inner light using a colour model of her own soul. She is an artist who uses the sense of light to cry out in the picture. These lights have neither a fixed form nor a fixed source, demonstrating the omnipresent and unprojectable feelings of entanglement, fear and perseverance within her mind. The light series of paintings are like silent sparks, the result of the stalemate between her and these fears. The sparks have no temperature, and they are silent too. They just exist quietly, like her works. You could say that she represents the theme and psychology of women. You could also say that she shows the speechless and silent outpouring of a helpless woman, or even a struggle devoid of temperature. These works are a sharp and shapeless sense of light – when viewing these works this sense of light erodes the ends of our visual nerves and produces a resonance with her works. The light of her inner life and the tangle of her life must be radiated. Her light series recreates the mind waves of in her innermost mind – do you feel them?
Professor, art and culture academic
Department of Art History, University of British Columbia
Lei Shuang's Painting is the Light of the Mind Wave (excerpt)
我在观察90年代女性艺术的时候，将雷双的花作为一种象征，将她的花与个体的生命相联系，觉得她是用变异的方法描述女性的生命体验以及女性成长过程。
现在我仍然在用女性主义的方式观看和分析这些作品，因为雷双的葵花和梵高以及其他艺术家的完全不一样，她是把它看做是自己生命的部分、身体组织的内容，情绪和生长背景以及各种复杂结构一起组成一种生命网状的平台，而不是仅仅一种观念的象征。“葵花系列”作品能够代表雷双艺术的特质，雷双跟别人不一样，她带有自己的毛毛草草，风风火火的态势，带有自己对生活的体验和感受，代表了中国女性在变化多端和快节奏的社会生活中的一种特征。我们能从她的作品里感觉到她的烦躁，她对生命流失的惶惑和困惑，她对鲜血与生命的警醒和恐惧，以及她的敏感与勇气……艺术为什么打动人？它的情感从哪来？在这方面我要感谢雷双，她向我们确定地展示了不能确定的生命历程。
Observing female art in the 1990s, I viewed Lei Shuang's flowers as a symbol. I connected her flowers to the life of the individual. I believed that she was describing women’s experience of life and growing up in a variant way.
Today I still view and analyze these works in a feminist way because Lei Shuang's Sunflower is totally different from Van Gogh and other artists' sunflowers. She regards them as a part of her life, part of her bodily tissue, part of her emotions and background, as various complex structures that form a networked platform of life, rather than just a symbol or concept. The Sunflower series of works represent the characteristics of Lei Shuang's art. Lei Shuang is different from other people. She has her own rash and reckless style, her own experience of life. She represents a characteristic of Chinese women living in this ever-changing, fast-paced society. We feel her impatience in her works, her perplexity and confusion about life flying by, her wariness about, and fear of, blood and life, her sensitivity and courage. Why does art move people? Where does this passion come from? For this, I would like to thank Lei Shuang, who has unquestionably shown us the ambiguous course of life.
Researcher, National Art Museum of China
The Power of “Flowers” (excerpt)
雷双，祖籍湖南长沙，生于书香世家。祖父雷恪及伯、叔祖父在中国美术史上被称为“湘史三杰”。现居北京。国家一级美术师。中央美术学院油画系第五届创研班毕业。
2021年入选亚洲影响力TOP100顶尖当代艺术家榜单（BNAAC亚太艺术研究中心/比佛利北美当代艺术中心）。2022年参加《第一届威尼斯元宇宙艺术年度展》 于意大利威尼斯军械库。1996年应美国女艺术家联盟之邀参加首展在纽约联合国大厦举办的BEIJING AND BEYOND国际巡回展。1999年作品“夜与昼”获美国亚太艺术研究院颁发的优秀奖并赴华盛顿市参加颁奖仪式。1998年及2008年两次在中国美术馆举办个展；2019年在嘉德艺术中心举办大型个展“光之语—雷双艺术展”。由哈佛大学出版、由美国艺术史学者撰写的《身体的印刻与性别的经典：当代中国的女性艺术（Inscribing the Body and Gendering the Canon: Women’s Art in Contemporary China.）》，有针对雷双艺术的专题学术性分析、讨论，刊载四幅艺术作品。
Lei Shuang,originally from Changsha, Hunan, was born in a scholarly family. His grandfather Lei Ke and his two brothers are known as the "Three Masters of Hunan History" in the history of Chinese art. Now living in Beijing. National first-class artist. Graduated from the Fifth Creative Research Class of the Oil Painting Department of the Central Academy of Fine Arts.
In 1996, invited by the American Women Artists League to participate in the first exhibition of the BEIJING AND BEYOND international tour exhibition held at the United Nations Building in New York. In 1999, his work "Night and Day" won the Excellence Award from the Asia Pacific Art Institute and went to Washington to participate in the award ceremony. In 1998 and 2008, he held two solo exhibitions at the National Art Museum of China; in 2019, he held a solo exhibition "Language of Light-Lei Shuang Art Exhibition" at the Guardian Art Center. 2022 entered the 1st annual metaverse art in vinice . In 2021, selected into the top 100 top contemporary artists of Asian influence (BNAAC Asia Pacific Art Research Center/Beverly North American Contemporary Art Center).
"Inscribing the Body and Gendering the Canon: Women's Art in Contemporary China.”published by Harvard University and written by an American art historian, has a specific focus on the art of Lei Shuang Special academic analysis and discussion, four works of art are published.
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