我是一個(gè)以表達(dá)為生存的人，而繪畫(huà)是最令我沉迷的事，（其次是文字），那么它就成為我表達(dá)感受、欲望、思考的載體。
其實(shí)我對(duì)藝術(shù)的熱情與追求正是對(duì)抗虛無(wú)感的方式，是為自己找到的活下去的理由。藝術(shù)是精神的顯現(xiàn)，于我來(lái)說(shuō)繪畫(huà)創(chuàng)作也是精神自我燃燒過(guò)程，這個(gè)精神因找到與對(duì)象物的結(jié)合而創(chuàng)立了自己的修辭學(xué)，從而讓自由激烈的身心獲得一種外在的形態(tài)。
我將自己的藝術(shù)創(chuàng)作稱(chēng)為虛無(wú)深淵旁的舞蹈，比如向日葵、玫瑰、荷花，還有抽象表現(xiàn)作品，它們是源自一個(gè)充滿(mǎn)生命虛無(wú)感的人轉(zhuǎn)化出的藝術(shù)現(xiàn)實(shí),就如哲學(xué)家德勒茲所說(shuō)：“人們一思考，便必然面對(duì)一個(gè)生與死、理智與瘋狂的線，這條線將你卷入，人們只能在這條巫師的線上思想……”我就是踏在這條巫師的線上，方生方死。
回顧自己的藝術(shù)，從九十年代初的黑白“瓶花”到隨后的紅與黑“大花系列”再到2000年以后的“荷”及“日食葵”，直至抽象表現(xiàn)及具象的”玫瑰”等，大都與黑白相關(guān)。我想，我思想的底色得益于黑夜的贈(zèng)與，呈現(xiàn)在藝術(shù)上趨向于黑白即是一種有意無(wú)意的選擇，也許還與我血脈中流淌的祖父輩中國(guó)文人那黑色（即水墨）的血液有關(guān)。
我的兩類(lèi)抽象性創(chuàng)作：《光寂》屬于仰望天空，《褶皺或展開(kāi)》及《大自然的和聲》屬于諦聽(tīng)大地，都是由客觀對(duì)應(yīng)物所激發(fā)出的對(duì)“未知”的體驗(yàn)。
我的作品有著生命的風(fēng)格，于是那生命可能性的創(chuàng)造使畫(huà)面的種種元素呈現(xiàn)出“非有機(jī)體生命的力量”。我贊同羅蘭巴特說(shuō)的藝術(shù)風(fēng)格不是刻意的選擇而是從作者的身體和經(jīng)歷中產(chǎn)生。我的創(chuàng)作仿佛是通過(guò)身體的“受孕”，而使得作品源源不斷，而作品與作品之間有點(diǎn)像德勒茲說(shuō)的“根莖”，相互糾纏、應(yīng)對(duì)、連接，有時(shí)在某一個(gè)結(jié)點(diǎn)又開(kāi)始自我繁殖。我不在繪畫(huà)中思考，我在繪畫(huà)中生存——盡管自由生成的思想常常賦予我靈感。
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 “l(fā)iving” in this process - although free-form ideas inspire me from time to time.
雷雙在繪畫(huà)風(fēng)格上的發(fā)展，不完全是根基于對(duì)形式結(jié)構(gòu)的追求而來(lái)。換言之，雷雙對(duì)藝術(shù)語(yǔ)言經(jīng)年累月的探究，使她同時(shí)也在不斷地完成著自我啟蒙。舉凡《靈魂之花系列》、《日食葵系列》、《向里爾克致意系列》等等，都負(fù)有雷雙的“歷史”記憶和經(jīng)驗(yàn)現(xiàn)實(shí)。
……雷雙以“畫(huà)”與“話”并置，用“雙翼”尋找能夠體現(xiàn)精神力量的視覺(jué)形式，追求作品的精神能量，或許正是她從繪畫(huà)和文學(xué)的雙重視角對(duì)文人藝術(shù)家身份的自覺(jué)凝視。這樣的一種藝術(shù)創(chuàng)作狀態(tài)亦即生命存在的狀態(tài)，使雷雙超越中西繪畫(huà)傳統(tǒng)的鴻溝，在當(dāng)代的語(yǔ)境中上溯了中國(guó)的“抒情傳統(tǒng)”。
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.
雷雙的藝術(shù)是真正意義上的本體繪畫(huà)，是純粹繪畫(huà)意義上的繪畫(huà)。
從《向日葵》到《荷花》，在哀婉的深情與炙熱的堅(jiān)定之間，繪畫(huà)獲得了內(nèi)在的情感張力。雷雙的《葵首》，其激烈與昂揚(yáng)的生命姿態(tài)令人過(guò)目難忘，甚至不同于梵高，這些頭顱一般的葵首如同被折斷了的生命之頭，是一個(gè)斷首、一個(gè)現(xiàn)代性的痛苦生命，我想梵高頂多是把耳朵砍掉了，而雷雙的作品中斷首和折斷的徹底性超過(guò)了男性，暗示出個(gè)體生命的疼痛和痛苦，體現(xiàn)出當(dāng)代繪畫(huà)罕見(jiàn)的品質(zhì)。而《玫瑰》系列則讓繪畫(huà)進(jìn)入了靈魂的顫栗，這是哀歌中的挺拔，也是開(kāi)放中的悲鳴，讓玫瑰的詠嘆獲得悲劇的詩(shī)意深度。
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.
……在雷雙抽象表現(xiàn)主義風(fēng)格的作品中，我最欣賞的是“光寂”系列，這一組作品的個(gè)性更鮮明，既有光又有色，既有想象又有理性。她所謂的理性主要體現(xiàn)在對(duì)螺旋形幾何曲線的運(yùn)用，這個(gè)特別別致。我覺(jué)得這是中國(guó)所有的抽象表現(xiàn)主義繪畫(huà)中非常獨(dú)特的一種形式。我把這樣的作品稱(chēng)為抽象，因?yàn)槌橄笫巧陀钪姹举|(zhì)的揭示。而在中國(guó)有大量憑直覺(jué)靠感性作畫(huà)的人，他們往往采用潑彩潑墨的方式來(lái)制作所謂的抽象畫(huà)，這種形式是通過(guò)色彩自然的流動(dòng)，呈現(xiàn)出一種偶然性的形象，它仍然模擬的是自然界的外在表象，跟抽象藝術(shù)是背道而馳的。我甚至認(rèn)為如果沒(méi)有一點(diǎn)理性的話，抽象繪畫(huà)還有什么價(jià)值？
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.
……雷雙的經(jīng)典作品是2000以后的“向日葵”，以“向日葵”為象征性的政治符號(hào)。比如1998年的《夜與晝》、2005年的《紅色書(shū)寫(xiě)》、2007年的《日食葵》等。畫(huà)面中隱喻著矛盾、對(duì)抗、無(wú)奈、反諷，觸及了時(shí)代的傷痛，凸顯了人們的生存體驗(yàn)。她畫(huà)的“向日葵”，以獨(dú)特的象征性語(yǔ)言，爆發(fā)出巨大的震撼力。
陶詠白
中國(guó)藝術(shù)研究院美術(shù)研究所研究員
雷雙作品中的兩種形式（節(jié)選）
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.
在我看來(lái)，雷雙的這些光在作品上的表現(xiàn)是用自己心靈的色彩造型給觀者呈現(xiàn)一個(gè)她自己的內(nèi)心之光。她是一位用光感在畫(huà)面呼喊的藝術(shù)家。這些光既無(wú)固定形態(tài)，又無(wú)固定光源，恰好表現(xiàn)了她內(nèi)心無(wú)所不在、無(wú)以所投射的一種糾結(jié)、恐懼和執(zhí)著。這些光系列的繪畫(huà)痕跡就是她與這些恐懼僵持下而產(chǎn)生的一種無(wú)聲的火花。這火花沒(méi)有溫度，也是無(wú)聲的，只是靜靜存在的。如同她的作品。你可以說(shuō)她表現(xiàn)的是女性題材和心理；你也可以說(shuō)她是無(wú)奈之下的女性的一種無(wú)言的無(wú)聲的傾吐，或甚至連溫度都沒(méi)有的一種掙扎。這些作品是一種尖銳而無(wú)形態(tài)的光感-—這種光感會(huì)在我們看這些作品的時(shí)候，侵蝕到我們視覺(jué)神經(jīng)的每一根末梢而產(chǎn)生和她的作品的共鳴……她內(nèi)心的人生之光和人生的糾結(jié)必須要放射出來(lái)。她的光系列，營(yíng)造了一個(gè)她內(nèi)心的心波場(chǎng)—你感受到了嗎？
曹星原
不列顛哥倫比亞大學(xué)美術(shù)史系
教授、藝術(shù)文化學(xué)者
雷雙的畫(huà)是心波之光（節(jié)選）
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?
Cao Xing Yuan
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)
我在觀察90年代女性藝術(shù)的時(shí)候，將雷雙的花作為一種象征，將她的花與個(gè)體的生命相聯(lián)系，覺(jué)得她是用變異的方法描述女性的生命體驗(yàn)以及女性成長(zhǎng)過(guò)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.
雷雙，祖籍湖南長(zhǎng)沙，生于書(shū)香世家。祖父雷恪及伯、叔祖父在中國(guó)美術(shù)史上被稱(chēng)為“湘史三杰”。現(xiàn)居北京。國(guó)家一級(jí)美術(shù)師。中央美術(shù)學(xué)院油畫(huà)系第五屆創(chuàng)研班畢業(yè)。
2021年入選亞洲影響力TOP100頂尖當(dāng)代藝術(shù)家榜單（BNAAC亞太藝術(shù)研究中心/比佛利北美當(dāng)代藝術(shù)中心）。2022年參加《第一屆威尼斯元宇宙藝術(shù)年度展》 于意大利威尼斯軍械庫(kù)。1996年應(yīng)美國(guó)女藝術(shù)家聯(lián)盟之邀參加首展在紐約聯(lián)合國(guó)大廈舉辦的BEIJING AND BEYOND國(guó)際巡回展。1999年作品“夜與晝”獲美國(guó)亞太藝術(shù)研究院頒發(fā)的優(yōu)秀獎(jiǎng)并赴華盛頓市參加頒獎(jiǎng)儀式。1998年及2008年兩次在中國(guó)美術(shù)館舉辦個(gè)展；2019年在嘉德藝術(shù)中心舉辦大型個(gè)展“光之語(yǔ)—雷雙藝術(shù)展”。由哈佛大學(xué)出版、由美國(guó)藝術(shù)史學(xué)者撰寫(xiě)的《身體的印刻與性別的經(jīng)典：當(dāng)代中國(guó)的女性藝術(shù)（Inscribing the Body and Gendering the Canon: Women’s Art in Contemporary China.）》，有針對(duì)雷雙藝術(shù)的專(zhuān)題學(xué)術(shù)性分析、討論，刊載四幅藝術(shù)作品。
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