请点击图片，阅读原文：2021西岸艺术与设计博览会 | 4 SOLOS展览现场 | 4 SOLOS
2021西岸艺术与设计博览会
李黑地 Li Hei Di
李黑地，1997年出生于中国沈阳，曾就读于美国马里兰艺术大学（Maryland Institute College of Art）和英国伦敦艺术大学切尔西学院（Chelsea College of Arts），2020年获艺术学士学位，现就读于伦敦皇家艺术学院（Royal College of Art）绘画硕士专业。综合自己切身的成长和情感经历，李黑地发展出了一套暧昧而独特的绘画符号语言，这些绘画作品常常位于大众电影文化、性别表演和静物传统的交界地带。而在其多样而具有强烈表现力的雕塑、装置和表演实践中，艺术家亦持续探索自身内在的性别和身体经验的多样性，在挑战着异性恋本位霸权的同时，暗示着纯粹欲望的本能、真实和自由。
诗人保罗·瓦勒里（Paul Valéry）认为“也许素描是对精神最强烈的诱惑”（Il se peut que le Dessin soit la plus obsédante tentation de l'esprit）——他多半是对的，因为观看李黑地的绘画，我们不得不看到艺术家在绘画中注入的巨大情感、欲望和热忱。
这种切肤的感受转化为了许多有机的形体。橘子、海棠、菊花、水蜜桃、白纱，这些是有点东方韵味的静物题材，带着轻快的色彩跃入画布；倏忽之间，它们又变成了某种结构蜿蜒复杂的人体器官，围绕性爱组织起来的动机反复出现，其外形常常模棱两可，亦阴亦阳，组成了一个挑战着异性恋本位（heteronormativity）的、人体官能可以流动变换的单性世界。叙事性偷偷溜进了这片本来也许只是纯粹的自我身体感受的场域，有时定格在一帧电影或电视剧的情景之上：《倩女幽魂》《青蛇》《笑傲江湖东方不败》《橘子红了》是部分画面的灵感来源。艺术家在这些片段中看到了带来性别多样性变革的可能性：雌雄同体的武侠、修行千年的痴情妖精、被世人误解的致命女郎，诸如此类。
从暧昧进入情色，又返回浪漫，夹带着恐惧和忧郁，还有在梦境中闪现的破碎肢体（fragmented body）……浏览李黑地的绘画，仿佛在极短的时间内就可以体会到亲密关系的繁多复杂的层次。继承弗洛伊德的“快乐原则”（Pleasure Principle）的提法，女性主义作家埃莱娜·西苏（Hélène Cixous）曾如此描述自己与写作之间的关系：“写作：仿佛我有继续享受的冲动（……）去感受我肌肉的力量、我的和谐，去怀孕，同时给自己分娩的快乐，母亲和孩子的快乐。生下自己，也哺育自己。”与中心系统玩着迂回的游戏的同时，又与画布保持着一种具有高度体感的关系，李黑地与她的绘画之间的关系也可以被视为一种调和于阳性的阴性书写（écriture féminine）吗？
无论如何，绘画是李黑地和画布生下的孩子，温柔而坚决，它和她非常相似。
文/黄格勉 Clement Huang
李黑地 Li Hei Di
競 Zing, 2021
布面油画 Oil on canvas
66 x 58 cm
李黑地 Li Hei Di
夜半潜逃 Escape at Night, 2021
布面油画 Oil on canvas
66 x 58 cm
Li Hei Di, born in Shenyang, China in 1997, studied at the Maryland Institute College of Art and the Chelsea College of Art - University of the Arts London and received her Bachelor of Arts in 2020. She is currently studying for a master’s degree in painting at the Royal College of Art in London. Based on her own growth and her emotional experience, Li Hei Di has developed a semiotic system of painting that is ambiguous and unique, which often lies at the intersection of popular films culture, gender performativity and classic still life. In her diverse and expressive practice of sculpture, installation and performance, the artist continues to explore the diversity of her own gender and body experience, challenging the supremacy of heterosexuality, alluding to the instinct, the truth, and the freedom of pure desire.
李黑地 Li He Di
红桃 Red Peach, 2021
布面油画 Oil on canvas
66 x 58 cm
绿菊 Green Chrysanthemum, 2021The poet Paul Valéry thought “drawing might be the most obsessive temptation to the spirit”(Il se peut que le Dessin soit la plus obsédante tentation de l’esprit) – and he was probably right because when we look at Li Hei Di’s paintings, there is no way we can’t perceive her great emotions, desire and compassion infused.
李黑地 Li Hei Di
妾堕玄海 Concubine Fell in Deep Sea, 2021
布面油画 Oil on canvas
160 x 180 cm
The penetrating sensation has been turned into many organic forms: Oranges, begonias, chrysanthemums, peaches, and white gauze are her subjects of still life with an oriental touch, leaping onto the canvas with bright colours; all in a sudden, they transform into some complex and sinuous human organ, recurring around sexual motifs, ambiguous in their shape, wavering between masculinity and femininity, creating a unisex world that challenges the heteronormativity and allows the bodily functions to be freely switched. On top of that, the narrative is also slipped in what might have been a scene of purely physical sensation, sometimes in the setting of a movie or TV series: A Chinese Ghost Story, the Green Snake, Swordsman II, The Orange is Red, etc. The artist sees in these clips the potential for a revolution in gender diversity: an androgynous warrior, a 1000-year-old ghost who also happens to be a hopeless romantic, a lethal woman misunderstood by the whole world, the list goes on.
While watching Li Hei Di’s work, which goes from ambiguous to explicit eroticism, then back into simple romance, with fear and melancholy wrapped in, and with fragmented body flashing in the dream…it’s as if you can experience different levels of intimacy in a very short period of time. Following Floyd’s “Pleasure Principle,” feminist writer Hélène Cixous once described her relationship with writing as: “Writing: as if I had the urge to go on enjoying (...) to feel the force of my muscles, and my harmony, to be pregnant and at the same time to give myself the joys of parturition, the joys of both the mother and the child. To give birth to myself and to nurse myself, too.” While playfully going back and forth with her core system, Li Hei Di maintains a highly physical sexual relationship with the canvas; Could the relationship between Li and her painting also be regarded as an écriture féminine?
With all being said, painting is a child of Li Hei Di and the canvas. It is gentle and determined, very much just like her.
contact@linseedprojects.spaceInstagram: linseedprojectsWebsite: www.linseedprojects.space