渏 Rippling 吴心雨 Xinyu Wu

Skills: 展览 Exhibition

无题空间12月新展开幕

驻地艺术家吴心雨个展

渏

开幕时间：12月5日（周日）下午4点

UИTITLEDSPΛCE December Upcoming Exhibition

Resident Artists Xinyu Wu’s Solo Exhibition

Rippling

Opening: 4 PM，Dec. 5th

展览导语 Exhibition Introduction

渏（yī），古同“漪”，涟漪，形容被风吹起的水面波纹，常用作比喻心里细微的活动。出处《诗经·魏风·伐檀》：“坎坎伐檀兮，寘之河之干兮，河水清且涟猗。”

本次展览以“涟漪”这一意象为线索，通过对不同材质的理解和塑造，视觉化地呈现内心世界复杂的情绪活动。作品在架上框架的基础上，尝试探索出一种更具直觉和空间流动性的表达方式。将抽象的情绪节奏造型化，而将具体的记忆朦胧地隐藏在微微波动的“水面”之下。并通过悬挂，倚靠，拉扯形成的不同情态，使作品人格化。在空间互动和被观看中，达成与观者的内在情绪对话。

“Rippling”, describing the ripples on the water surface blown by the wind, and is often used as a metaphor for the subtle activities of the heart. Source from “Book of songs, Wei Feng, cutting Tan”.

Taking the image of “rippling” as a clue, this exhibition visually presents the emotional fluctuations in the inner world through the understanding and shaping of different materials. On the basis of the frame, the artworks try to explore a more intuitive and spatially fluid way of expression. The abstract emotional rhythm is modeled, and the concrete memory is dimly hidden under the slightly fluctuating “water surface”. The artworks are personified through the different modalities formed by hanging, leaning, and pulling. In the space interaction and being watched, the inner emotional dialogue with the viewers is happening…

关于艺术家 About the Artist

xwu.squarespace.com

吴心雨（1995年出生于安徽合肥），就读于纽约石溪大学和马里兰艺术学院，目前生活在上海。她的作品以绘画为主，逐渐向跨媒介和空间过渡。文化和生活的变化，快节奏的都市生活和慢节奏的乡村生活给了她更多对于人类机器化的反思——无情绪化表达代表着高效，专业，社会认可和财富的价值观。她开始关注人的内在情绪状况，从情绪入手去定义自身，寻找独特性和存在感。

“这些丝绸附着在不同形状的框架上，如同人的情绪附着在躯体上，轻柔的包裹与的疼痛的拉扯共存。” 她的近期作品试图以材料入手，通过材料本身的特性和质感来呈现一种朦胧状态而非具体图像，诗意地、去数字化地表达空虚、焦虑、孤独、梦境等抽象感受，为观者提供一个纯粹的情绪窗口。重拾情绪在人们对于自身价值评判标准中的重要性，反思在消费主义横行的物质世界中由于人们对于人工智能和效率至上的崇拜而忽视对自身情绪的审视和照料。丝绸的轻盈和墨汁的深邃，纸张的宁静和液体亚克力喷漆的温和，也体现了女性视角下对于情绪的理解和表达。

Xinyu Wu （born in Hefei, Anhui in 1995), studies at Stony Brook University in New York and Maryland Institute College of Arts, and currently lives in Shanghai. Her works are mainly painting, gradually transitioning to cross-media and space. Changes in the cultural and living environment make the definition of one’s own identity more complicated. The fast-paced urban life and the slow-paced rural life gave her more reflections on the mechanization of human beings——non-emotional expression represents the values of efficiency, professionalism, social recognition, and wealth. She began to pay attention to the inner emotional state, defining herself from emotions, in order to look for uniqueness and a sense of existence.

“These silks are attached to different shapes of frames， just like human emotions are attached to the body, soft wrapping and painful pulling coexist.” Her recent works try to start with materials and present one through the characteristics and texture of the materials themselves. A hazy state rather than a concrete image, poetically and digitally expresses emptiness, anxiety, loneliness, dreams, and other abstract feelings, providing the viewer with a pure emotional window. Regain the importance of emotions in people’s judgment of their value, and reflect on their ignorance of the scrutiny and care of their own emotions due to the worship of artificial intelligence and efficiency in the material world where consumerism is rampant. The lightness of silk the depth of ink, the tranquility of paper, and the gentleness of liquid acrylic spray paint also reflect the understanding and expression of emotions from a female perspective.

部分展览作品 Selected Exhibited Artworks