高嘉璐：复活节

高嘉璐的工作室内，作品按照创作时间和题材的不同，整齐的摆放在四周，首先进入视线的，是她作品中采用的饱和度并不强烈的色调，是偏冷的基调。蛋，是她系列作品中的母题，能看到乔尔乔内式的线条勾勒出轮廓后，再进行的薄涂，画面自由轻快，看似无拘无束却是深思熟虑后的产物。

Inside Gao Jialu's art studio, her works are neatly arranged around, categorized by their creation time and themes. The first ones to catch your eye are the works with less intense saturation, featuring a cool-toned palette. Eggs, the central motif of her series, feature Giorgio de Chirico-inspired geometric lines delineating the contours. Subsequently, she applies thin strokes, creating an artwork that appears free and lively, seemingly unbounded, yet thoughtfully crafted.

看高嘉璐的画时，脑海里不由得呈现出超现实主义绘画大师米罗的形象。米罗阅读神秘文学作品，在绘画时听莫扎特和巴赫的音乐，画中跃动着红、黄、蓝、白、黑色。他作品画面中的几何线条，纵横交错成平面图形，柔软的曲线则勾勒出各种形状，有着孩子般的天真和快乐。米罗的画面里有许多的符号：小人、石头、黑暗中的星星、梯子等，这些画作据说是在潜意识中创作完成的，艺术家的本意是原教旨的执行弗洛伊德的思想。洛特雷阿蒙有句名言：“缝纫机与雨伞在解剖台上的相遇”，这三件完全没有联系的东西放在一起就产生了诗意。无论是不是潜意识状态下的神来之笔，看米罗的作品是好看的，有很强的装饰性，还能够让我们轻松下来，这就足够了。

When viewing Gao Jialu's paintings, one can not help but be reminded of the image of the surrealist master, Miró. Miró read mystical literary works and listened to Mozart and Bach's music while painting. His works exude vibrant hues of red, yellow, blue, white, and black. Geometric lines intersect to form flat shapes, while soft curves delineate various forms, radiating childlike innocence and joy. Miró's paintings are filled with numerous symbols: little people, stones, stars in darkness, ladders, etc., and these works are said to have been created from the subconscious, faithfully executing Freud's ideas. Lotrèmamon has a famous saying, "the encounter of a sewing machine and an umbrella on the dissecting table" – these three completely unrelated things come together to create poetry. Whether or not these works are products of the subconscious, appreciating Miró's art is delightful; it possesses strong decorative qualities and allows us to relax, and that is enough.

而高嘉璐则不然，她的作品是经过深思熟虑后的图示表现。高嘉璐擅长书法，但她更醉心于思考文字符号之外的世界。她在造型和文字之间的中间地带，寻找着某种关联性，同样是简单的颜色和平涂的色块，和米罗相比，她的作品增添了结构性。她的画保留了提香的笔触，并成为构图中重要的元素。在《守护》这件作品中，她毫不吝啬地将整个画布铺满，用粉色填满女性身体，而用对比度极强的红色和蓝色填满另一个，她用这种方式，来为整个画面提供一种整体结构感，以体现在冷静状态下的有意识表达。

However, Gao Jialu’s works are expression of image under deep consideration. Even though the artist is good at Chinese calligraphy, but she is more obsessed with the world beyond the symbols of characters. She searches for relevance between model and character. Compared to Joan Miró, her work adds structure over simple blocks of color and flat paint. The type of brushstrokes with Tiziano Vecellio is reserved in her works and becomes an important element in her composition. In the work "The Guard", she filled the entire canvas with reckless abandon, filling the female body with pink and the other with contrasting reds and blues. In this way, she provides a sense of overall structure to the whole work, to reflect conscious expression in a state of calmness.

“蛋”系列作品的灵感则来自复活节。“‘复活节’是我最喜欢庆祝的节日”，嘉璐说：“这个节日代表了复活和重生，蛋代表了突破，代表了希望和新生，是一种蓬勃的生命力，我希望通过这一系列的作品给予观者以冲破黑暗、盼望光明的美好愿望和勇气”。而她作品的用色，则更多采用了弱饱和度的中间色调，以确保内在结构的整体性。

The inspiration for her "Egg" series comes from Easter. "Easter is my favorite holiday," Jialu says, "It represents resurrection and rebirth; eggs symbolize breakthroughs, hope, and new life, exuding a vibrant vitality. Through this series of works, I aim to impart viewers with a beautiful wish and courage to break through darkness and anticipate the light." In her works, she mostly employs less saturated mid-tones, avoiding visual impact from color.

高嘉璐的作品中有许多元素，其中最醒目的，是一种类似于文字的图示，她力图用这种“文字”和造型艺术之间的关系，诠释艺术家的使命和责任。绘画与文字的关系可以理解为造型艺术与符号的关系，是舞者与史官的关系。

Gao Jialu's works encompass many elements, among which the most striking are text-like symbols. She endeavors to interpret the artist's mission and responsibility through the relationship between this "text" and the art of representation. The relationship between painting and text can be understood as the relationship between the art of representation and symbolism, a love-hate affair between artists and intellectuals.

拉斯科那些惟妙惟肖的壁画，据今已经一万五千年。那时候，我们的祖先还没有发明文字，却已经在造型艺术上具备了高超的技艺，这些绘画的创作者，我们暂且称作舞者，他们相信，如果能够精确地模仿动物的动作和形态，就有能力对它们加以控制。这，也是绘画和舞蹈的由来。他们相信这个世界存在着超自然的力量，而舞者，则正是具有控制和操纵这种超自然能力的人。

Lascaux's remarkably lifelike cave paintings date back 15,000 years. At that time, our ancestors had not yet invented writing, yet they possessed advanced skills in the art of representation. The creators of these paintings, whom we temporarily call artists, believed that by accurately imitating the movements and forms of animals, they could control them. This is also the origin of painting and dance. They believed in the existence of supernatural forces in the world, and the artists were the ones with the ability to control and manipulate these supernatural powers.

随着文字的产生，掌握了文字的史官，则把超自然的力量包装成了神，于是人类社会就有了宗教，掌握文字的少数精英则掌握了话语权。文字具备自抽象的能力，史官们以文字为武器，搭建起一个繁复而令人敬畏的符号世界，这个符号世界远不是普罗大众运用直觉和常识所能理解的。于是，大众匍匐在地，祈求神的怜悯。落败的舞者们，则把话语权交给了史官，而在舞者的心底、在文字还没有发明之前，用绘画、音乐、舞蹈和雕塑为手段建立起的共同身份和想象的认同，则是造型艺术最美好的黄金岁月。

With the advent of writing, the intellectuals who mastered it packaged the supernatural powers into gods, giving birth to religion in human society. The few elite who mastered writing gained control over discourse. Writing has the ability to abstract, and the intellectuals used it as a weapon, constructing a complex and awe-inspiring symbolic world. This symbolic world is far beyond the grasp of ordinary people, relying on intuition and common sense, and so the masses prostrated themselves, praying for the mercy of the gods. The defeated artists handed over their authority to the intellectuals. Before the invention of writing, in the hearts of artists, in the common identity and imagined identification established through the means of representation such as painting, music, dance, and sculpture, was the golden age of the art of representation. 

在美国求学期间，高嘉璐有空就会去百老汇听音乐剧，或者去大都会歌剧院欣赏歌剧。“我一共看过三次韦伯的音乐剧《猫》，每当名曲‘回忆’奏响时，主人公的表演和叙述娓娓道来，就提醒着我，要珍惜流逝的时光”。安安静静的高嘉璐总是非常理性：“我们每个普通人，都应该能够在纷繁的世界中，得到片刻的休息和放松，无论是无来由的失落和恐慌，还是惊梦时分的沮丧，都能够被艺术所抚慰，这就是艺术家的使命和责任。”