歷經(jīng)十余載的不斷探索與嘗試后，“體向”系列作品成為了藝術(shù)家秦姣姣逐漸鎖定的個(gè)人化風(fēng)格表達(dá)。在這個(gè)過(guò)程中，藝術(shù)家更為關(guān)注人的內(nèi)在世界，用身體元素組構(gòu)畫面，以求挖掘人真實(shí)的內(nèi)在景觀。借由“釋放身體的自由意志”來(lái)向內(nèi)觀照個(gè)體的“自我”，由此引出“內(nèi)觀”的概念，即如實(shí)觀察事物真正的面目，透過(guò)觀察自身來(lái)凈化身心。觀察身和心不斷在變化的同時(shí)，身體反客為主，帶領(lǐng)人們游走、穿梭于它開(kāi)拓的新通道與新領(lǐng)域。就如同外部客觀世界不停地吸走和掏空人們的主觀意識(shí)，而身體則會(huì)將已脫位的、紊亂的心神逐漸拉回到本體，以尋得某種更為健康和自由的內(nèi)在秩序。

“體向”系列作品圍繞著“身體”元素展開(kāi)，我們歸根結(jié)底都是身體的存在，正是身體的經(jīng)驗(yàn)、經(jīng)歷以及身體的意識(shí)、欲求、記憶、反射和感知能力來(lái)實(shí)踐和反映著人的智慧、情感和主觀意志。目前現(xiàn)實(shí)中還不存在完全抽象的人性、純粹的精神或離開(kāi)身體的自我意識(shí)，只有將精神、意識(shí)融為一體后生機(jī)勃勃的身體。在德勒茲看來(lái)，“身體”是各種力或能量的集合體，它不是一種本質(zhì)，也沒(méi)有固定不變的本質(zhì)。它不再是一個(gè)與心靈實(shí)體相對(duì)的物質(zhì)實(shí)體，而是一場(chǎng)去本質(zhì)化后的力量游戲，是不同交叉的力相互作用過(guò)程中的一個(gè)變量。

我們通過(guò)身體在世界上存在，用身體和客觀世界建立聯(lián)系。當(dāng)我們向內(nèi)觀照“身體”，將重新發(fā)現(xiàn)自己，觀察和感知各種力與能量的流淌，此刻身體就成為了知覺(jué)的主體。而畫布則成為了藝術(shù)家秦姣姣觀察“身體”的所及之處，身體元素在這數(shù)平方米的視域范圍內(nèi)開(kāi)始躲藏、扭曲變形、相互交疊、拼接斷裂、翻轉(zhuǎn)蔓延......畫面中身體間的糾纏，就如同創(chuàng)作者與觀看者之間的互動(dòng)，突破空間維度的框束，以視覺(jué)上的“身體”元素構(gòu)建出人與人之間能量的鏈接。秦姣姣還喜歡將時(shí)間線鋪設(shè)進(jìn)畫面之中，色調(diào)的冷暖變化、線條的節(jié)奏急緩以及形狀的流動(dòng)變換都暗合了時(shí)間，“身體”即使沒(méi)有在密切接觸中陰陽(yáng)交替，也會(huì)在時(shí)間的維度里四季輪轉(zhuǎn)。

更多的信息被隱藏于畫面的“身體”之中。細(xì)品秦姣姣的繪畫，會(huì)發(fā)現(xiàn)有一種沉穩(wěn)而幽靜的美，構(gòu)成一種形而上且意味深長(zhǎng)的視覺(jué)表達(dá)。“體向”系列所塑造的畫面更像是每個(gè)人最為放松之后的狀態(tài)，大腦里也許還殘留一些滯后的信息在笨拙地轉(zhuǎn)動(dòng)，但是身體已經(jīng)不再服從，它蘊(yùn)含著自己的想法，等待著一股力量將其激活，如若身體對(duì)抗不了外在的束縛，就從自身內(nèi)部尋找出路。

藝術(shù)家最新創(chuàng)作的“體向”系列作品畫面上充斥著干凈的灰色，它們給身體帶來(lái)了新的力量，誕生出新的關(guān)系，好像每一塊顏色都是更加離奇的救贖。好似迸發(fā)著涌出大地的泥漿，在泥潭里身體渾濁不清，匍匐前行，每一次混亂之后又引領(lǐng)著我們進(jìn)入救贖的場(chǎng)域，令我們?cè)诟鞣N體式里打通新的循環(huán)鏈，一切都在某種堅(jiān)韌里流轉(zhuǎn)，不同時(shí)期的自我在流轉(zhuǎn)，客觀和“他者”在流轉(zhuǎn)，豐富的人生色調(diào)也在流轉(zhuǎn)……在畫面中，一層又一層地疊加和覆蓋，讓現(xiàn)實(shí)中擁堵不堪的我們回望自己那不足兩平米的身體，從而跟著身體的去向進(jìn)入另一個(gè)內(nèi)在世界。我們不再焦慮，慢慢放松，不再害怕失去和消亡，就像負(fù)重前行的中年人心之所向的，莫過(guò)于卸掉太多的重壓，回歸簡(jiǎn)單。大多時(shí)候我們毫無(wú)愧疚感地壓榨著我們的身體，這一刻，可能要停下與外在世界發(fā)生連接的動(dòng)作，轉(zhuǎn)而向內(nèi)觀瞧，聆聽(tīng)身體，隨它去往更善意更純凈的地方來(lái)安放那個(gè)獨(dú)一無(wú)二又短暫的我們。

After more than ten years of continuous exploration and attempts, the "Body Orientation" series of works has become a personalized style expression by artist Qin Jiaojiao. In this process, the artist pays more attention to the inner world of people and constructs the picture with body elements in order to excavate the real inner landscape of people. By "releasing the body's free will" to observe the individual, this leads to the concept of "Vipassana". It means to observe things as they really are, and to purify the body and mind by observing themselves. While observing that the body and mind are constantly changing, the body is leading people to walk through the new channels and new fields. Just as the external objective world continues to suck and hollow out people's subjective consciousness, the body gradually pulls the dislocated and disordered mind back in order to find a healthier and freer inner order.

The "Body Orientation" series of works revolves around the "body" elements, we are all constituted by bodies in the final analysis. The body's experience and consciousness, desire, memory, reflection and perception ability to practice and reflect human wisdom, emotion and subjective will. At present, in reality, there is no completely abstract human nature, pure spirit or self-consciousness without body, only a vibrant body that integrates spirit and consciousness. According to Deleuze, the "body" is a collection of forces or energies, it is not an essence, and there is no fixed essence. It is no longer a physical entity opposed to a mental entity, but a de-essentialized force game, a variable in the interplay of different intersecting forces.

We exist in the world through our bodies and use our bodies to connect with the objective world. When looking inward at the "body," we can also rediscover ourselves, observe and perceive the flow of forces and energies, and the body becomes the subject of perception. The canvas becomes the place where artist Qin Jiaojiao observes the "body". Body elements begin to hide, twist and deform, overlap, splice and break, flip and spread...... within the scope of several square meters. The entanglement between the bodies in the picture, just like the interaction between the creator and the viewer, breaks through the frame of the spatial dimension and builds the energy link between people with the visual "body" element. Qin Jiaojiao also likes to lay the time line into the works, the cold and warm changes of the tone, the rhythm of the line, and the flow of the shape is transformed, and the "body" even if it is not in close contact with Yin and Yang, it will also rotate in the dimension of time.

More information is hidden in the "body" of the image. If you look closely at Qin Jiaojiao's paintings, you will find that there is a calm and quiet beauty, which constitutes a metaphysical and meaningful visual expression. The image created by the "Body Orientation" series is more like the state of everyone after relaxation. The brain may still have some lagging information in clumsy rotation, but the body is no longer obedient, body contains its own ideas, waiting for a force to activate it, if the body cannot fight against the external constraints, it will find a way out from within itself.

The artist's latest "Body Orientation" series is filled with clean grays that bring new power to the body and create new relationships, as if each color is a more bizarre salvation. Like the mud that gushes out of the earth, the body is muddy in the mud, crawling forward, leading us into the field of redemption after each chaos, so that we can open up a new cycle chain in various forms. Everything is circulating in a certain tenacity, the "self" in different periods is circulating, the objective and the "other" is circulating, and the rich colors of life are also circulating... In Qin's works, layer after layer is superimposed and covered, looking at our body which is less than two square meters in reality, so as to follow the Orientation of the body into another inner world. We are no longer anxious, slowly relaxed, no longer afraid of loss and death. Just like the dream of middle-aged people, is to remove too much pressure, return to simple. Most of the time, we put pressure on our bodies without guilt. At this moment, however, it needs to stop connecting with the outside world and instead look inward, listen to the body, and let it go to a kinder, purer place with us, who are unique and ephemeral.

參考文獻(xiàn)：
莫里斯·梅洛-龐蒂:《知覺(jué)現(xiàn)象學(xué)》，姜志輝譯，商務(wù)印書館，2001年，第265頁(yè)。
德勒茲:《尼采與哲學(xué)》，周穎、劉玉宇譯，社會(huì)科學(xué)文獻(xiàn)出版社，2001年，第59頁(yè)。
張之滄:《身體主體性解析》, 國(guó)外社會(huì)科學(xué)前沿(11), 2020年, 4-17+95。

文：謝天

關(guān)于藝術(shù)家

秦姣姣
Qin Jiaojiao

1984年出生于湖北浠水

畢業(yè)于佳木斯大學(xué)美術(shù)學(xué)院

現(xiàn)生活和工作于廣州

仚東堂2021年成立于北京，是一家獨(dú)立的藝術(shù)項(xiàng)目空間和收藏空間，立足中國(guó)當(dāng)代藝術(shù)的發(fā)展，致力于中西方當(dāng)代藝術(shù)的交流與推廣。2023年仚東堂在798藝術(shù)區(qū)正式成立畫廊空間，標(biāo)志著仚東堂藝術(shù)商業(yè)的嶄新開(kāi)始。