姚柄远 Yao Bingyuan
展览日期 Duration：
2025.12.06—2026.01.06
开幕时间 Opening：
2025.12.06 下午3: 00
展览地址 Address：
北京市朝阳区酒仙桥路4号798艺术区798东街D10号 NO.D10 East 798 St, No.4, 798 Art Zone, Chaoyang District, Beijing
在围绕其近期创作展开的讨论中可以清晰地看到，谢灵柔对自身创作方向已形成较为自觉而稳定的认识。相较于早期以个人记忆为核心的回望式书写，她逐渐将目光转向一种更具公共性与普遍意义的“女性经验”。她从电影片段、旧影像乃至历史资料中截取女性形象，并将其转化为绘画的视觉主体。这些形象不再依附于具体身份，而是以符号化的方式进入画面，作为经验与历史的承载体。
在这一过程中，“平行时空”逐渐成为其创作中最为关键的元素。她多次提及自己对多时空电影的兴趣，而在她的画布上，时间也被重新理解——它不再作为线性叙述的载体，而更像是一块可以被切割、重拍与叠加的场域。画面中光影关系的错位与形象的反复，使不同时刻得以同时呈现于同一空间之中；某一姿态既像是刚刚发生，又仿佛在另一段遥远的时间中持续延展。由此，时间以碎片化的方式被重新组织，在彼此错位与隐约连缀之间，形成一种脱离顺序的叙事结构，使叙事呈现出更为开放与自由的状态。
她一贯的“叠加”方式在这一阶段显得更为沉稳与自觉。过去更多由情绪推动的涌动，逐渐让位给结构性的思考。她以图像本身为出发点，将叠加作为一种方法——用以试探记忆的缝隙，触碰身份的流动，也使观看本身变得更加复杂。于是，画布不再只是一张平面，而更像是一部被拆散、再度剪辑的影像：每一层都承载着各自的质感与时间属性，并在相互覆盖与渗透中生成多重观看路径。
从整体上看，其当下的创作可被理解为一种以绘画处理影像记忆、以图像结构整理时间秩序的实践。女性形象在这一实践中呈现为指向他处的象征性存在。她并不试图讲述一个完整的故事，而是让不同时刻在同一画面中相遇、交叠，并彼此照亮。那些被记住的与被遗忘的，得以在画布半透明的层次关系中缓慢浮动，最终使作品呈现出一种超越线性叙事的连续性。
Through discussions surrounding her recent works, it becomes evident that Xie Lingrou has developed a clear and stable understanding of her artistic direction. Compared to her earlier practice rooted in introspective reflections on personal memory, she has gradually shifted her focus toward a broader and more public notion of“female experience.” Drawing from film stills, archival images, and historical visual materials, she extracts female figures and transforms them into the visual subjects of her paintings. These figures are no longer tied to specific identities but enter the pictorial field in a symbolic manner, serving as carriers of both experience and history.
Within this trajectory, the notion of“parallel time” has gradually emerged as a key element in her practice. She has frequently spoken of her interest in multi-temporal cinema, and on her canvas, time is indeed reconfigured—it no longer functions as a vehicle for linear narration, but rather as a field that can be cut, replayed, and layered. The displacement of light and shadow and the repetition of figures allow different moments to appear simultaneously within the same pictorial space; a certain gesture seems to have just occurred, yet also appears to extend from a distant temporal interval. In this way, time is reorganized in a fragmentary manner, forming a narrative structure detached from linear sequence and giving rise to a more open and fluid mode of narration.
Her long-standing method of“layering” also appears more restrained and self-aware at this stage. The emotionally driven impulses of earlier works have gradually given way to structural thinking. Taking the image itself as her point of departure, she treats layering as a method—one that probes the fissures of memory, touches upon the fluidity of identity, and complicates the act of viewing itself. As a result, the canvas is no longer merely a flat surface, but resembles a sequence of images that has been dismantled and re-edited: each layer carries its own texture and temporal quality, generating multiple paths of perception through processes of overlap and permeation.
From an overall perspective, her current practice may be understood as an attempt to process cinematic memory through painting and to reorganize the order of time through pictorial structure. Within this framework, female figures appear as symbolic presences that point beyond themselves. Rather than constructing a complete narrative, she allows different moments to meet, overlap, and illuminate one another within the same image. What is remembered and what is forgotten both drift slowly within the semi-transparent layers of the canvas, ultimately giving rise to a sense of continuity that transcends linear narration.
谢灵柔，1999年出生于广东湛江，本科毕业于西安美术学院绘画艺术系，硕士毕业于首都师范大学表现绘画工作室。
Lingrou Xie, born in 1999 in Zhanjiang, Guangdong, Majored in painting from Xi’an Academy of Fine Arts for her bachelor degree and later earned a master’s degree from the Expressionist Painting Studio at Capital Normal University.
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