Group Exhibition | Fluid Time

参展艺术家 Artists B. 奎因 B. Quinn

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塞西尔·洛伯特 Cécile Lobert

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克里斯·奥尔森 Chris Ohlson

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Christy Love

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克劳迪娅·哈布林格 Claudia Habringer

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digger

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JBeaumont

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刘筱雨 Liu Xiaoyu

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Nero Cosmos

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莎拉·凯瑟琳·阿赫恩 Sarah Kathryn Ahearn

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蒂齐亚娜·拉西雷 Tiziana Rasile

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汤姆 Tom Rosenthal

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Yuho

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展览前言：流动的时间

Exhibition statement: Fluid Time

奥地利哲学家阿尔曼·阿瓦尼斯安认为，“后当代的基本论点 是时间处于变化之中。我们不仅生活在一个新的时代或者说加 速的时代，而且时间本身——时间的方向——也发生了变化。 我们不再拥有线性的时间。线性的时间意味着，过去之后是现在， 现在之后是未来；恰恰相反，未来发生在当下，时间由未来而至。”

From August 8, 2022 to September 5, 2022, Independent & Image Art Space is glad to present a group exhibition “Fluid Time”.

这意味着在这个新时代，时间是流动的，不再是由过去发展到 现在、由现在发展到未来的渐进。时间的流动性意味着边界的 模糊，不被划分，没有具体的定义。那么在这样的时间下，艺 术家如何设想未来？如何看待历史？如何创造意想不到的叙述 和关联，讲述不为人知的故事？甚至如何把时间作为艺术媒介， 解读此时此刻正在体验的生活？ 参展艺术家：B. 奎因，塞西尔·洛伯特，克里斯·奥尔森， Christy Love，克劳迪娅·哈布林格，digger，JBeaumont，刘 筱雨，Nero Cosmos，莎拉·凯瑟琳·阿赫恩，蒂齐亚娜·拉西 雷，汤姆，Yuho

Armen Avanessian, an Austrian philosopher, says that “The basic thesis of the post-contemporary is that time is changing. We are not just living in a new time or accelerated time, but time itself—the direction of time— has changed. We no longer have a linear time, in the sense of the past being followed by the present and then the future. It’s rather the other way around: the future happens before the present, time arrives from the future.”

In this new era, time is fluid, and there is no obvious progression from a before, to a during and an after in historical terms. The fluidity of time indicates the blurring of boundaries, escaping categorizations, and not being concretely defined. In such a time how does an artist imagine the future? How to view histories? How to create unexpected narratives and connections to tell untold stories? How to even use time as an artistic medium to interpret the life we experience?

Artists: B. Quinn, Cécile Lobert, Chris Ohlson, Christy Love, Claudia Habringer, digger, JBeaumont, Liu Xiaoyu, Nero Cosmos, Sarah Kathryn Ahearn, Tiziana Rasile, Tom Rosenthal, Yuho

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B. 奎因 B. Quinn

2020 年 5 月 18 日，收藏级布里斯托尔纸本水墨，22.86 x 30.48cm, 2020, 来自系列作品《平庸的似曾相识》，2010 年起持续创作 5.18.2020., archival ink on bristol, 22.86 x 30.48cm, 2020; From the series Banal Déjà Vu, 2010-ongoing 8

2020 年 5 月 20 日，收藏级布里斯托尔纸本水墨，22.86 x 30.48cm, 2020, 来自系列作品《平庸的似曾相识》，2010 年起持续创作 5.20.2020, archival ink on bristol, 22.86 x 30.48cm, 2020; From the series Banal Déjà Vu, 2010-ongoing 9

作为一位观念和视觉艺术家，我的作品突出展现了动作所留下的痕迹以及令人着迷的重复。 初看之下，它们似乎并无关联——涂有人造黄油的墙壁，18928 块手工粘土饼干，实验视频——而每一个项目 都是上一个的延续，并预示着之后的实验。 As a conceptual and visual artist, my work typically features traces of gesture and obsessive repetition.

Although they may at first glance look unrelated—walls smeared with margarine to 18,928 handmade clay cookies to experimental video—each project is a continuation of the last and informs future experimentation.

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2020 年 6 月 9 日，收藏级布里斯托尔纸本水墨，22.86 x 30.48cm, 2020, 来自系 列作品《平庸的似曾相识》，2010 年起持续创作 6.9.2020., archival ink on bristol, 22.86 x 30.48cm, 2020; From the series Banal Déjà Vu, 2010-ongoing 2022 年 6 月 20 日，收藏级布里斯托尔纸本水墨，48.26 x 60.96cm, 2022, 来自系 列作品《平庸的似曾相识》，2010 年起持续创作 6.20.2022., archival ink on bristol, 48.26 x 60.96cm, 2022; From the series Banal Déjà Vu, 2010-ongoing 12

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这组绘画作品中，代表日期的数字在沉思、直观、自动的 绘图过程中不断重复出现。在反思时间流逝的同时，也参 照了艺术家河原温、罗曼·欧帕卡，素人艺术家艾玛·豪克、 芭芭拉·萨克菲尔和乌尼卡·祖恩的作品。 In this group of drawings, the numerals representing the date repeat throughout a meditative, intuitive, automatic drawing process. While reflecting on the passing of time, they also reference the work of artists such as On Kawara and Roman Opalka, along with outsider artists like Emma Hauck, Barbara Suckfuell, and Utica Zurn.

2020 年 11 月 11 日，收藏级布里斯托尔纸本水墨，22.86 x 30.48cm， 2020，来自系列作品《平庸的似曾相识》，2010 年起持续创作 11.11.2020., archival ink on bristol, 22.86 x 30.48cm, 2020; From the series Banal Déjà Vu, 2010-ongoing 14

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B. 奎因从匹兹堡查塔姆大学获得学士学位，之 后在芝加哥艺术学院完成了绘画专业的研究生学 习。在芝加哥工作生活期间，她的作品出现在世 界多地的展览和艺术活动上。2021 年春在担任 富布赖特独立学者期间，她参加了在奥地利维也 纳 MQ21 举办的艺术家驻留。2021 年秋，她的首 个个人展览《理发》在纽约 AIR 画廊举行，这一 展览得到伊利诺伊州艺术委员会的资助。 B. Quinn received her B.A. from Chatham College for Women in Pittsburgh, PA, and later completed her M.F.A. in Painting and Drawing at the School of the Art Institute of Chicago.

While living and working in Chicago, she has participated in numerous exhibitions and projects across the U.S. and internationally.

During her appointment as a Fulbright Independent Scholar in spring 2021, she was an artist-in-residence at MQ21 in Vienna, Austria. Then, in the fall of 2021, she presented her first solo exhibition in New York, titled “The Haircut” at AIR gallery, supported by a grant from the Illinois Arts Council.

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塞西尔·洛伯特 Cécile Lobert

这一项目的 10 幅布面作品，按时间顺序表现了在隔 离和时间流动之下，神经多样意识的演变。隔离似乎 是由流行病强加的身体限制和艺术家与生俱来的生理 限制所产生的情绪的外化。其结果是一个人从中挑选 出来的真实表达和原始情感的有机和非策略性记录。 Featuring 10 canvases, the collection chronologically presents the evolution of a neurodiverse consciousness struggling through isolation and fluid time. Quarantine appears to be an externalization of emotions deriving from both pandemic-imposed physical restrictions and the artist’s inborn physiological restrictions. The result is organic and non-strategized documentation of the genuine expression and raw emotion one culls from to cope.

2022 年 5 月初，布面丙烯，90 x160cm，2020 Early May 2020, acrylic on canvas, 90 x 160 cm, 2020 18

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2022 年 6 月末，布面丙烯，75 x115cm，2020 End of June 2020, acrylic on canvas, 75 x 115cm, 2020 20

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塞西尔·洛伯特 1992 年生于比利时布鲁塞尔，是 一位神经多样、非语言的视觉抽象表现主义艺术家， 关注以原始形式看待意识问题。她的作品建立了一 种风格，也许最突出的是它从规范的观点和参考中 解放出来，从一个人迹罕至的地方挖掘深刻的感 受——穿越语言和社会指导的空白所造成的鸿沟。 Born in Brussels, Belgium on the 23rd of April 1992, Cécile Lobert is a neurodiverse, non-verbal visual abstract expressionist who addresses consciousness in its raw form. Her compositions establish a style perhaps best-known for its emancipation from normative outlooks and references, offering deeply felt compositions from a rarefied place—traversing the chasm wrought by the void of language and social instruction. Where artists work at tearing down social preconceptions.

2022 年 5 月末，布面丙烯，75 x115cm，2020 End of May 2020, acrylic on canvas, 75 x 115 cm, 2020 22

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克里斯·奥尔森 Chris Ohlson

她不再回来，视频艺术，1920 x 1080, 2021 She’s Never Coming Back, Video Art, 1920 X 1080, 2021 – https://vimeo.com/393795627 24

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克里斯·奥尔森深思熟虑、具有挑衅性的作品经常探索和剖析我们对时间的记忆——我们如何感知、制定、编辑和 策划我们自己的现实。他的电影和视频利用听觉、视觉和体验拼贴，从与亲密和陌生人的对话片段，到画外音、档 案图像、从别处找到的镜头和管弦乐声音设计。克里斯勤奋而敏感地探索他自己的死亡——活着意味着什么，如果 有的话，以及在不知道生命的确切意义的情况下，我们如何选择在所有事物中展示自己平凡的荣耀。 Ohlson’s thoughtfully provocative work often explores and dissects our memory of time—how we perceive, formulate, edit and curate our own reality. His films and videos make use of auditory, visual, and experiential collage—from snippets of conversations with intimates and strangers, to voiceover, archival imagery, found footage and orchestral sound design. Chris works diligently and sensitively at exploring his own mortality—the what, if anything, it means to be alive, and how in the not-knowing-precisely-the-meaning-of-our-lives, we choose to present ourselves in all our manifest and mundane glory.

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仪式，短片，1920 x 1080, 2022 The Ritual, Short Film, 1920 X 1080, 2022 – https://vimeo.com/672487967/0ea687e52e 28

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克里斯·奥尔森是一位电影制作人和视频艺术家，其作品跨越电影、纪录片、视频装置和斜视冥想多个维度。克里斯的作品在 美国和世界多地展映，其中包括柏林电影节、圣丹斯电影节、SXSW 及其他电影节，画廊和空间，如 Itau 文化中心（圣保罗）、 111 Minna 画廊（旧金山）、Central Cinema（西雅图）、Project 101（巴黎）、Anthology Film Archives（纽约市）和 The Holy Art Gallery（伦敦）。克里斯得到了圣丹斯学院、独立电影学院、哥谭电影与媒体学院（前身为独立电影制作人项目）、 鹿特丹实验室和奥斯汀电影协会的慷慨支持、指导和领导。他目前在纽约布鲁克林生活和工作。 Chris Ohlson is a filmmaker and video artist whose work spans multiple dimensions of film, documentary, video art installation and oblique visual meditations. Ohlson’s works have screened widely in America and all over the world: film and video festivals from Berlinale to Sundance, to SXSW and beyond; galleries and spaces including Itau Cultural Center (São Paulo), 111 Minna Gallery (San Francisco), Central Cinema (Seattle), Project 101 (Paris), Anthology Film Archives (NYC), and The Holy Art Gallery (London). Chris has received generous support, guidance, and leadership opportunities from the Sundance Institute, Film Independent, The Gotham Film & Media Institute (formerly IFP), Rotterdam Lab and the Austin Film Society. He currently lives and works in Brooklyn, NY.

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Christy Love

空间，滴画，布面丙烯，25.4 x 25.4cm, 2022 Space, Drip Painting, acrylic on canvas, 25.4 x 25.4cm, 2022 痛苦，印制，布面丙烯，25.4 x 25.4cm, 2022 Pain, stamping, acrylic on canvas, 25.4 x 25.4cm, 2022 32

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时间无法控制，但可以浪费。如果我想体验生活的本来面目，我必须对自己感到满意，并相信更好的选择会吸引适 合我的生活。 Time can’t be controlled, but it can be wasted. If I want to experience life for what it was meant to be, I have to be comfortable with myself and believe that my better choices will attract the life meant for me.

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我叫 Christy Love，来自美国德克萨斯，是一位 小学老师。我为自己的多文化、多种族背景而自豪。 童年时，父母就重视创作力、想象力和教育的价值， 并教导孩子与他们的传统和身份联系起来的重要 性。在我的生活中，我希望继续帮助他人成长并 向他们学习。 My name is Christy Love. I’m from the United States, Texas. I work as an Elementary Art teacher teaching grades Kindergarten – Fourth (ages 5-10). I take pride in my background, which is multi-cultural and multi-ethnic. In my childhood, I was raised by parents who understood the value of creativity, imagination, and education. My parents also taught their children the importance of connecting to their heritage and identity. In my life, I hope to continue to help others grow and learn from them.

爱，手指画，布面丙烯，25.4 x 25.4cm, 2022 Love, finger painting, acrylic on canvas, 25.4 x 25.4cm, 2022 36

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克劳迪娅·哈布林格 Claudia Habringer

时间没有边界。 时间也代表了感受。 我的艺术创作涉及两个方面：过程和结果。在时 间中漫步，过程和结果同样有趣。 Time has no boundaries.

Time also represents a feeling.

My procedure of creating artworks have two aspects. The process and the outcome. Walking through time while the process lasts is a swell interesting as the outcome itself.

与玛丽莲·梦露共鸣，布面马克笔，50 x 50cm，2018 In resonance with Marilyn Monroe, marker on canvas, 50 x 50cm, 2018 38

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与苏格兰高地及其历史共鸣，涂层织物马克笔，180 x 60cm In resonance with the Scottish Highlands and its History, marker on coated fabric, 180 x 60cm 与侏罗纪共鸣，布面马克笔，40 x 50cm，2021 In resonance with the JURASSIC AGE, marker on paper, 40 x 50cm, 2021 40

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与迈尔斯·戴维斯共鸣，布面马克笔，50 x 50cm，2018 In resonance with MILES DAVIS, marker on canvas, 50 x 50cm, 2018 与比莉·哈乐黛共鸣，帆布板马克笔，50 x 50cm，2018 In resonance with Billie Holiday, marker on canvas board, 50 x 50cm, 2018 42

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克劳迪娅·哈布林格 1963 年生于奥地利艾比斯瓦 尔德，曾学习戏剧研究和新闻，在维也纳音乐戏 剧工作室接受音乐演员训练；还在其他领域接受 专业学习，比如行为训练师和系统能量学方面。 职业生涯有着丰富的经历，曾担任舞台表演编舞； 在舞蹈、舞台、自我表现、身体语言工作室为儿童、 青少年和成人提供指导；传授戏剧教学法；参与 团队创造力方面的研讨会；德语语言培训；开设 表现力舞蹈和疗愈舞蹈方面的工作坊；还曾担任 声音教练。

与舞蹈家瓦茨拉夫·尼金斯基共鸣，布面马克笔和丙烯，100 x 80cm，2020 In resonance with the dancer Vaclav Nijinsky, marker and acrylic on canvas, 100x 80cm, 2020 44

Born 1963 in Eibiswald, Styria/Austria, 2 years of theater studies and journalism in Vienna (unfinished); 4 years of training as a musical actress with stage maturity (1989) in Tanzforum Wien and Musical Theatre Studio, Theater an der Wien; Training as a specialist and behavioral trainer at the Management Academy / University of Salzburg and at the BFI Innsbruck; further training in the field of human energetics, systemic energetics, Innerwise; my professional life contains variety: Choreographies for stage shows; Workshops with children, young people and adults in the areas of dance, stage, selfpresentation, body language; use of theater pedagogy in the classroom; Seminars in the field of team, creativity and motivation; Language training “German as a foreign language”; Workshops in the field of expressive dance and healing dance; Individual work as a voice coach, innerwise coach, learning coach.

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digger

战争之洞，布面印刷，96.52 x 111.76cm War Hole, print on canvas, 96.52 x 111.76cm 46

快乐挺好，布面印刷，96.52 x 111.76cm Merry-Do-Well, print on canvas, 96.52 x 111.76cm 47

我在杂货店挣钱。 I work in a grocery store to make money

摧毁酷，布面印刷，96.52 x 111.76cm Destroy Cool, print on canvas, 96.52 x 111.76cm 48

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我试着用我的作品来摧毁酷。 I try with my work to destroy cool.

独立肉体机器人，布面印刷，96.52 x 111.76cm Independent Flesh Robot, print on canvas, 96.52 x 111.76cm 50

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JBeaumont

冰川波浪，丙烯浇注、树脂和密度板，104.14 x 121.92cm，2021 Glacial Waves, acrylic pouring, resin and MDF wood, 104.14 x 121.92cm, 2021 52

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火，丙烯和颜料浇注、树脂和密度板，84 x 59cm，2022 Fire, Acrylic and pigment pouring, Resin and Wood, 84 x 59cm, 2022 水，丙烯和颜料浇注、树脂和密度板，84 x 59cm，2022 Water, Acrylic and pigment pouring, Resin and Wood, 84 x 59cm, 2022 54

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冰川波浪，丙烯浇注、树脂和密度板，104.14 x 121.92cm，2021 Glacial Waves, acrylic pouring, resin and MDF wood, 104.14 x 121.92cm, 2021 56

冥河，丙烯和颜料浇注、树脂和密度板，91.44 x 121.92cm，2021 Styx, acrylic and pigment pouring, resin and MDF wood, 91.44 x 121.92cm, 2021 57

一位自学成才的艺术家，来自充满创意热情的北曼 切斯特地区。年轻时 JBeaumont 就明白自己的应该 在企业中开拓职业生涯，并让自己试图融入其中。 然而，每当想到自己的童年，在卧室疯狂地画满画， 让他想要实现成为艺术家的梦想。 I’m a self-taught artist from North Manchester that’s passionate about fulfilling creative visions.

From a young age, I felt I was led to believe I can only make a career in the corporate world – and I’ve somewhat forced myself into that career for many years. However, thinking back to my childhood and how I would fill my bedroom with all my crazy paintings, it was inevitable that I would eventually wish to fulfil my dreams as an artist.

只是一丝想法，丙烯浇注、树脂和密度板，68.58 x 121.92cm，2022 Just a Thought, acrylic pouring, resin and MDF wood, 68.58 x 121.92cm, 2022 58

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刘筱雨 Liu Xiaoyu 人声为钟 人在不同的情况下，对时间流逝的体验有何不同？由 此，我记录了我在不同场景和状态下计数两分钟。时 间被拉伸和压缩。感官的输入勾起画面的闪回，记忆 碎片在意识海中被捕捉。这一切互相交织与串联，眼 前的不再是单一的时间轴，过去、现在、未来交织。 时间交替汇集层层叠叠。如琼·格兰特《飞翔的法老》 所言，“我所在之处，是时间之中却超越时间，这是 过去现在未来的中心，是永恒。” Human Voice as Clock

https://independentimage.org/liu-xiaoyu/

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I recorded myself counting 2 minutes in several contexts to explore the human perception of time under different scenarios. Time is stretchable. Senses trigger flashbacks, flashbacks are extracted from memories, and memories interfere with the senses.

Past, present, and future are interconnected like a manifold, a convergence of multiple dimensions of time. To connect these dots, Joan Grant reveals this piece of a puzzle in his book Winged Pharaoh: a far memory book: “for where I am is within and beyond Time, for it is the center of a circle where past, present, and future join and are eternal.”

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刘筱雨作为一个跨学科艺术家和交互设计师，通过艺术装置、行为艺术、声音和影像等媒介探寻在人类统治秩序下死亡、时间和 感知的概念。她对周遭坏境的敏感和质疑成为了她创作的动因。其硕士毕业于帕森斯设计学院设计与科技系。作品展出于帕森斯， The Research House for Asian Art, NYC Media Lab 和 Maker Faire。 Born in Zhejiang, China, 1995, Xiaoyu Liu currently lives and works in the U.S. She earned her MFA in Design & Technology, Parsons School of Design (M2019). As an interdisciplinary artist and interaction designer, she explores time and sensory perception and the notion of death through the media of art installation, performance, documentation, sound, and videos. Her sensitivity to the environment has been a major influence on her work. Her work has been exhibited at The Research House for Asian Art, NYC Media Lab, Maker Faire, Parsons, and published in USA Art News, Ritzherald, Hudson Weekly, Madison graph, and Fairmont Post.

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Nero Cosmos

内在刺激、封闭和唯我论，数字艺术，2022 Inner stimuli, hermetic and solipsistic, digital art, 2022 64

重生、数字原点，数字艺术，2022 Rebirth, digital hypostasis, digital art, 2022 65

像差，时间膨胀，数字艺术，2021 Aberration, time dilation, digital art, 2021 群体、集体智慧，数字艺术，2021 Swarm, collective intelligence, digital art, 2021 66

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过度依赖，机器，告诉我，我的人生值得过吗？视频，2022 Over-reliance, machine, tell me, is my life worth living?, video art, 4K, 2022 https://independentimage.org/nero-cosmos/

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如今，数字化的快速发展使得机器不再仅仅是一种人类工具。我的艺术项目正是基于这一叙事基础之上…… 我的艺术项目从视觉上探讨，在错综复杂的技术深度内，虚构的人造思维的寓言式未来。创作媒介反映了，当下时刻 在即将展开的预期外来中自相矛盾的性质。 Today, the rapid growth of digitalization has caused a shift for machines to develop further than being a mere tool for humanity. My projects are the starting point of this narrative…

My Projects visually explore the allegorical future of a fabricated, human-made mind in the tangled depths of technology. The medium in which it is created, reflects the paradoxical nature of the present moment in the onset of an anticipated future.

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Nero Cosmos 一位生活在瑞士苏黎世的观念艺术家。 他借助人工智能展开艺术实验，创作的图像和视频处 于不断变化的状态中，运用技术和算法聚焦感知与转 化这两大概念。他借助艺术作品，探讨人和机器的相 互关系，探讨意识在数字空间内如何变迁、它如何影 响日常生活，邀请观众通过机器的视角去看到世界。 Nero Cosmos is a conceptual artist based in Zurich, Switzerland. He experiments with artificial intelligence, creating images and videos that are in a constant state of metamorphosis, focusing on ideas of perception and transformation using machine learning techniques and algorithms. His work allows him to explore the reciprocal relationship between humans and machines, and how consciousness changes in the digital space and affects daily life, inviting the viewer to see the world through the eyes of a machine.

卵巢，壳中的鬼魂，视频，2021 Ovarian, ghost in a shell, video art, 4K, 2021 https://independentimage.org/nero-cosmos/ 72

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莎拉·凯瑟琳·阿赫恩 Sarah Kathryn Ahearn

我的艺术作品融合了四种元素——色彩、运动、 肌理和设计，以个人化的单版画，激发出情感 和精神上的回应。我的单版画是抽象的、非表 现的，用丙烯颜料制作多重层次，借助运动和 手势构成图案。 My artwork integrates four elements – color, movement, texture and design – to create individually unique prints that evoke emotional and spiritual responses. The monotypes are abstract, non-representational pieces produced with multiple layers of acrylic paint that is patterned through movement and gesture.

母亲，单版画，丙烯颜料，50.8 x 40.64cm, 2022 Mother, monotype, acrylic paint, 50.8 x 40.64cm, 2022 74

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孔雀梦，单版画，丙烯颜料，50.8 x 40.64cm, 2022 The Peacock’s Dream, monotype, acrylic paint, 50.8 x 40.64cm, 2022 76

时间，单版画，丙烯颜料，50.8 x 40.64cm, 2021 Time, monotype, acrylic paint, 50.8 x 40.64cm, 2021 77

冰柱之舞，单版画，50.8 x 40.64cm，2021 Dance Of The Icicles, monotype, 50.8 x 40.64cm, 2021 78

蜜蜂花的精华，单版画，50.8 x 40.64cm，2022 The Essence of a Beebalm Flower, 50.8 x 40.64cm, 2022 79

莎拉最近从波士顿迁居到南新罕布什尔，开设 了艺术工作室，主要利用凝胶印刷法创作单版 画。她的版画方法是，运用动作和手势将鲜明 的色彩铺设在凝胶板上，建立相互共鸣的、多 层色彩和肌理。她的版画作品作为自主表达， 在和谐的抽象世界展示相互关联的情绪和精神。 莎拉出生于马里兰州，先后获得凯尼恩学院学 士学位，莱斯利大学硕士学位。 Sarah recently relocated from Boston to southern NH where she opened an art studio, currently concentrating on monotypes using the gel printmaking process. Her approach to printing uses movements and gestures as she applies vivid colors to the gel plate and builds layers of color and textures that resonate with each other. Her prints are spontaneous expressions exhibiting emotions and spirit interconnected in a harmonious abstract world.

Sarah, a native of Maryland, was educated at Kenyon College receiving a B.A. degree (1996, major in Studio Art). Her senior project used liquid silver emulsion applied by hand, a process that informs her gel printmaking process. She received a M.A degree (2014) from Lesley University in Expressive Therapies. Her art skills, developed over the years, were an essential element in the suite of modalities used in Expressive Therapies, as part of the M.A. program. 毛毛虫的蜕变，单版画，50.8 x 40.64cm，2020 The Metamorphosis of a Caterpillar, 50.8 x 40.64cm, 2020 80

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蒂齐亚娜·拉西雷 Tiziana Rasile

我的作品试图通过色彩振动寻找光，在色彩振动中事物 展现出其古老的精髓。 我相信艺术能包容无尽的观点。画笔可以是振动的电子、 音波，光、水和空气结合的韵律。生命流淌的时间，只 有心灵在寻求纯净。 My work seek for light through chromatic vibrations where the being appears in its ancestral essence.

This artist believes in an art that embraces infinity points of view. A brushstroke can be an electron that vibrates, a sound wave, a rhythm of light, water and air together.

The time where life flows, simply the soul in search of the uncontaminated…

在潜水微光中，布面油画，100 x 100cm，2018 In the Glow Dived, oil on canvas, 100 x 100cm, 2018 82

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光中的振动，布面油画，60 x 90cm，2018 Vibration in Light, oil on canvas, 60 x 90cm, 2018 时间中清澈的水，布面油画，60 x 80cm，2018 Clear Water Over Time, oil on canvas, 60 x 80cm, 2018 转瞬即逝的方式，布面油画，60 x 80cm，2018 The Fleeting Way, oil on canvas, 60 x 80cm, 2018 84

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灯光的交织，布面油画，50 x 50cm Plots into light (Lumi in trame), oil on canvas, 50 x 50cm 86

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蒂齐亚娜·拉西雷在罗马工作生活。完成艺术学院绘画专业的学习后， 她进入博物馆从事古画修复工作一年时间。她的艺术创作通过充满色彩 肌理的过渡位置研究光线，其关注创建科学和哲学、精神和艺术之间的 对话。她的这一艺术探索之旅从系列作品《消逝》开始，让形式消融于 色彩之中；再到《简洁的时间》和《振动》系列，光在画面空间内振动， 调节着时间。

漂浮的门，布面油画，50 x 50cm Gates Suspended (Passaggi sospesi), oil in canvas, 50 x 50cm 88

Tiziana Rasile was born in Rome where she lives and works. Once completed the course of studies at the Academy of Fine Arts in the sect. Painting, she obtained a Diploma in Technical Builder in Merchandising Museum; and for a year she dedicated herself to the study of Restoration of Ancient Paintings. She immediately developed a propensity for abstract art and engraving, always maintaining a strong relationship with the classical technique of nuance and oil veiling. Over the course of her career she has participated in numerous events and international awards. Her research explores light, through over-positions suffused with chromatic textures and is focused on the possibility of creating a dialogue between scientific and philosophical realities, spiritual and artistic insights. Her journey begins with the FADES Collection, where the form is dematerialized in color, up to other collections such as “LACONIC TIME”; and “VIBRATIONS”: the light that vibrates in the space of the picture and modulates time. From 2018 to 2019 she adheres to the constitution of the Oxford Collective, baptized by Maestro Giampaolo Berto “New Roman Spatialism” whose artistic Manifesto was presented at the headquarters of the Merulana Museum in Rome. In March 2021 she received the “Opera Prize” for his career, for the last five years of artistic production, from the U. I. L. (National Union of Artists-Writers). The artist wrote for the column “Art dimensions” for the Foressego art International Organization and collaborates with the several galleries with articles. Tiziana Rasile is rappresented by Laura I. Contemporary Art Gallery (Londra).

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汤姆 Tom Rosenthal

时，纸上丙烯，30.48 x 30.48cm，2022 Time/ 時 , acrylic on paper, 30.48 x 30.48cm, 2022 90

时（暮色），纸上丙烯，30.48 x 30.48cm，2022 時 (night colors), acrylic on paper, 30.48 x 30.48cm, 2022 91

我认为，“流动的时间”这个主题与我的工作方法和思维过程是相当契合的。在这些展出作品中，我用不同的方式刮擦纸面，让时 间能在中英文的词语和色彩中被感受，被表达。黄昏、白昼、夜晚是生活在这个星球上的人类所经历、描述的几个时间节点，我把 它们放在了这组系列作品中。这组作品将对时间的不同表达与中国汉字（时、时间、长长久久）并置起来，同时与英文单词 Time 互动； 还有将“昨天、今天、明天”三个中文词语抽象构成的一组小型三联画，这三个词是描述时间表达的其他词语示例。 I find that the theme of “Fluid Time” fits very well with my methods of working and thought process. With the paintings I have submitted, I have just begun to scratch the surface of the many different ways time can be felt and expressed in words and in colors in both English and Chinese. Twilight, Daytime and Night are some of the aspects of time as experienced and described by humans on this planet that are addressed in this series. This group juxtaposes a few different expressions of time with Chinese characters ( 时， 时 间， 长 长 久 久 ）interacting with the English word, “Time”, as well as small triptych that makes abstract compositions of the Chinese words for, “Yesterday, Today, and Tomorrow” ( 昨天，今天， 明天 ) other examples of words that describe expressions of time.

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时间，纸上丙烯，30.48 x 30.48cm，2022 Time/ 時間 , acrylic on paper, 30.48 x 30.48cm, 2022 94

长长久久，纸上丙烯，30.48 x 30.48cm，2022 Long Time/ 长长久久 , acrylic on paper, 30.48 x 30.48cm, 2022 95

昨天，今天，明天，纸上丙烯，27.94 x 35.56cm Yesterday, Today, Tomorrow ( 昨天 , 今天 , 明天 ), acrylic on paper, 27.94 x 35.56cm panels 96

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我接受广告和平面设计方面的专业训练，但从未被其商业性质所吸引， 相反，形式和构成是令我着迷的地方，特别是将排版、字母和文字用 作图像。我的艺术根植于平面设计和排版 / 文本操作。文字和字体让 艺术构建非常有效，这得益于它们形式上的特质，其划分空间的方式， 正与负的内在平衡，笔直和弯曲的线条 / 形状。文字和字体在沟通上 表现出直接性。做出阐释或表达观点时它们比拼写出来更为快捷。我 与中国移民工人一同从事建筑和木工工作时，开始学习中文，我为添 加了一个全新的字体库感到非常兴奋。汉字的象形特点让沟通比纯粹 的字母构成，这种完全抽象的概念，更为快捷，因为每个字都有含义。 我最近的一些作品就是在探索，同时使用这两种书写体系，让它们作 为设计元素进行互动，让中国文化和美国文化进行跨界，将传统的书 写体系置于非传统的语境之下。

时间（暮色），纸上丙烯，30.48 x 30.48cm，2022 Time (twilight colors), acrylic on paper, 30.48 x 30.48cm, 2022 98

Though I’ve had formal training in advertising art and graphic design, I was never attracted to the sales aspect of the discipline, but rather, I was fascinated by the formal, compositional aspects, especially the use of typography, letters and words as images. My art is rooted in graphic design and typography/text manipulation. Words and letterforms make very effective art building blocks because of their formal qualities, the way they divide space, their intrinsic balance of positive/negative, straight, and curved lines/shapes. They also have a directness of communication. There are few faster ways to make a statement or express a point than actually spelling it out. When I began to learn Chinese, working with Chinese immigrant labor in construction and carpentry, I was very excited to add a whole new arsenal of letterforms. The ideographic nature of written Chinese can make for fast communication of simple ideas as a single character, rather than being merely a sound component, is a complete abstract concept. Some of my most recent work explores what happens when both writing systems are used simultaneously, interactively as design elements and the crossover of Chinese and American cultures, putting traditional writing systems in non-traditional contexts.

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Yuho

山顶日出，布面水墨，50 x 120cm，2022 Sunrise at the Peak, ink on canvas, 50 x 120cm, 2022

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正如阿尔曼·阿瓦尼斯安所说，我们生活在一个过去与现在相碰撞、未来不可预知的世界。幸运地是，不可预知背后的美妙之处在于， 没有什么是一成不变的，一切都有可能发生。这反过来让以自己的方式展现远见的艺术家有机会利用他们所拥有的各种工具，来创 造不为人知的故事。正如上面提到的，时间是一个流动的概念，而不是静止的，因此 Yuho 选择使用水墨作为她的主要媒介，因为 它的流动感和变革性。 Much like Armen Avanessian says, we are currently living in a world where past and present are colliding which makes the future unpredictable. Luckily, the beauty behind the unpredictable is that nothing is set in stone, thus allowing all possibilities to happen.

This, in turn, gives artists, who are visionaries in their own way, a chance to utilize the many tools they have at their disposal to create untold stories. Most of this genius is achieved by thinking outside of the box with no boundaries and simply allowing the paint to touch the canvas. As mentioned, time is a fluid concept, rather than a static one, and as such, Yuho chooses to use ink as her primary medium for its fluid and transformative nature. She trusts it to guide her hand down a winding path, leading her to tell a story.

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黄山的诗，布面水墨，120 x 50cm，2022 The poetry of Huangshan, ink on canvas, 120 x 50cm, 2022 104

露珠，布面水墨，120 x 50cm，2022 Dew Drop, ink on canvas, 120x50cm, 2022 105

能量，热情 & 爱，布面水墨，66 x 167.5cm, 2022 Energy, Passion & Love, ink on canvas, 66 x 167.5cm, 2022

峨眉，布面丙烯，102 x 216cm，2021 Emei, acrylic on canvas, 102x216cm, 2021 106

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我是一位在洛杉矶和香港生活的艺术家。抽象是对我的作品恰 如其分的描述，星星、星座、太阳系的星球，包括地球美丽的 自然资源都是我灵感的源泉。水墨和丙烯是我常常选用的工具， 这两种材质可以优雅、柔美地流动，帮助我达成期望的效果。 另外，得益于珠宝设计方面的背景——它需要丰富的想象力和 创造力——我能够将这些技能转换到艺术作品之中。在画笔触 碰到画布之前，就能轻松在头脑中看到画作的背景、布置、色 调和方向。经过多年的珠宝设计，我感到自己越来越闪闪发光， 更加成熟。因此，在画画时我会选用大胆的色彩，来释放热情、 自由、正能量的感受。对我而言，最重要的是关注形式和色彩 关系以及视觉构图。 I’m an artist based in Los Angeles and Hong Kong. While my work is best described as abstract, I primarily draw inspiration from the stars, constellations, and planets of our solar system, including the Earth’s beautiful natural resources. My choice of tools often involves working with ink and acrylic as both mediums flow graciously and lusciously, helping me achieve my vision. Additionally, coming from a jewelry background, which requires a great deal of imagination and creativity, I’ve been able to transfer those skills to my work as an artist. I have found it easier to visualize my painting’s setting, placement, color tones, and orientation before my paintbrush hits the canvas. After spending years designing jewelry pieces, I’ve found myself increasingly drawn to sparkle and sophistication.

As such, when I paint, I look for bold colors to emit feelings of passion, freedom, and positive energy. To me, it’s most important to focus on formal color relationships and visual composition.

在我的奇迹天空，布面水墨，90 x70cm，2022 In My Miracle Sky, ink on canvas, 90x70cm, 2022 108

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