物静光时

“箱子是承载情感的空间 。”

——张雪瑞张雪瑞的艺术创作常在有意地自我限定下，建立起一种独特的工作逻辑。对“物”、“物质”、“物性”的探讨，指向着追溯时间的基调。以装置、绘画等不同媒介为载体，她借助对物的表征阐释、对物与他者及自身关系的梳理，都是将作品视为重要的言说对象、生命景观，以承载她在个体经验和社会关系中的历史、记忆、当下与未来。

“The chest is a repository for emotions.”

—Zhang Xuerui Zhang Xuerui's artistic practice seeks to establish unique logic and methods of artmaking by intentionally setting up various constraints. Her exploration of objects, matter, and materiality underscores an intention to trace transience and temporal modality. By adopting artistic media from painting to sculpture and installation, Zhang uses objects and painting methods to reflect on relationships between the self and others. She conceives her artworks as a conduit of artistic discourse and life spectacles where one discovers history, memories, present, and future.

在全新的个人展览“物静光时”中，张雪瑞凝练出一个非现实的，却又易于联想叙事的箱状“符号”，口述历史给予她想象的空间，以一个家庭几代人的生命历程反映着时代的变迁，那是历经时间淘洗和社会熔炉淬炼后唤醒记忆的证据。张雪瑞以女性的视角，在时间中穿行，在调和记忆、经验与想象的过程中，将时间物化的历史、对特殊意义的纪念以及对永恒时间的追问留在画布上。

For her new solo exhibition, Zhang Xuerui extracts the chest-like symbol, a central element drawn from a piece of oral history running in her family, to generate an imaginary space that would conjure the life histories of several generations from associations and fictive narratives. This symbolic figure also triggers latent memories expanding into broader social and historical contexts that have been filtered and refined over time. What Zhang Xuerui leaves on her can-

vas are time-graced histories, commemorations, and her quest for eternalizing the immaterial through a feminine approach of reconciling memory, experience, and imagination.

“物静光时”展示了张雪瑞最新的《静物·箱子》系列。悬置于空间中，呈打开状态的箱状物成为画面的主体。因此看似熟悉的箱子并非以写实的方式描绘，而更似交织着多重时空的开放性容器。流传于家族中的往事，在口述历史中模糊着现实与想象的界限，无法亲历的艺术家却得以在想象中为这段回忆塑型，箱子也就成为了艺术家勾勒故事中人物关系，想象事件发生的社会语境，以及投射细腻的情感涟漪的入口。

This exhibition showcases Zhang Xuerui’s latest series of Still-Life·Chest. Suspending in pictorial space, the open chest defies the rules of realist depiction, while its symbolic value stores multiple modalities of time and space. The artist, unburdened by the facts of a family story passed down through word of mouth and its blurry boundary between facts and fiction, inspires her to reshape a memory through her imagination. Hence, the chest becomes the entrance for the artist to out-

line the relationship between the characters in the story, imagine the social context in which the event occurred, and project ripples of sentiments and emotions.

画面背景的颜色选取延续了以往艺术家绘画创作中自我限定的方式，即在被方格分割的画面上选定三个角，将其中填充的颜色设定为这幅画的“三原色”——这些初始颜色都在大自然中有迹可循——此后整个画面的所有方格都由这三原色按不同配比调试出的颜色填充而成，迭代出微妙的色彩渐变。在展厅中，以暧昧、朦胧色调描绘的箱子如同集体记忆的结晶体，以无数家庭所使用过的熟悉之物的形态，在对昨日重现的情景中强化着其所营造的社会关系。艺术家通过主观感知调和出的背景勾连出了多重时空的叠加，以开放性的呈现生成了无限的可能，去追忆、建构、修复、重构个人情感中那些尚未和解的时刻。

The selection of colors on the background of the painting extends from her previous approach of setting up a specific method for rendering its color scheme. Zhang assigns three primary colors for the three corners of the picture and divides the overall image into a square grid. Each square is filled with a blended color from these “three primary colors” of the painting. Traceable in na-

ture, their varying ratios create a subtle gradation of color. The chest, set against various subtly rendered color gradations, crystalizes not only a personal story but also a collective one, taking the form of a common household item found in countless families to reinforce the social relation-

ships it entailed through a re-enactment of the past. The backgrounds mediated by the artist’s acute perceptions superimpose multiple temporalities, engendering infinite possibilities for re-

calling, constructing, repairing, and reconstructing moments of personal emotions that have not yet been reconciled.

在《某年某月某日·手书》系列中，张雪瑞从织物上剪取小而多的心状图形，再以类似书写或阵列的方式，编排或编织成新的图式。这些织物作品以一丝不苟又亲密的方式形成了一条与其绘画并行的新路径。

In the series Some Day Some Month Some Year · Handwritten Letters, Zhang cuts small but many heart-shaped figures from fabric and then arranges them into new patterns in a way similar to writing. Those textile works form a parallel path along her paintings in a way that is simultane-

ously conscientious and intimate.