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荒木经惟说过“你所走过的路、读过的书、见过的世面，都会在你的脸上表现出来”，人的面部语言真实性大于躯体语言和文字叙述。于高歌而言，亦是这样。高歌的画面中会有人体交织而形成的山川，有色彩冷暖变化的光怪陆离。现在，也有了形象、轮廓和结构，会有明暗变化、明确的体积感。高歌说，这于她而言是更确定的个人艺术语言。??????????????
Araki said, "The road you have traveled, the books you have read, and the world you have seen will be reflected in your face," so the authenticity of human facial language is greater than that of body language and written narrative. The same is true of singing. In the singing picture, there will be mountains and rivers formed by the interweaving of human bodies, and there will be strange changes in color cold and warm. Now, with the image, outline and structure, there will be changes in light and shade, a definite sense of volume. Gao says that this is a more certain personal artistic language for her.
Gao Ge "Boy Stepping on Bubbles" 40×30cm Acrylic on canvas
高歌《抢劫留西帕斯的女儿》200×100cm 布面丙烯Gao Ge "Robbing the Daughter of Leucippus" 200×100cm Acrylic on canvas高歌说纵然她的作品好似每一段时间都会有新的形式，但是于她自己而言，其实她并没有刻意追求新颖的符号和故意为之的打破求新。自始至终，她的画面都是她每段时间状态和心境的投射，画画更像是整理回忆性图像秩序的进程。所以，没有一以贯之的主题、绘画语言，就更不会去强调独有的个人符号。因为，“艺术工作者不是为了告诉观者样本性，而是可能性。”陷入符号，就是放弃自身异质性，放弃了终身求索可能性（高歌）。
Gao Ge said that although her works seem to have new forms every time, but for herself, in fact, she does not deliberately pursue novel symbols and deliberately break new. Throughout, her pictures are a projection of her state and mood at each time, and painting is more like a process of sorting out the order of recalling images. Therefore, there is no consistent theme, painting language, will not emphasize the unique personal symbols. Because, "the artist is not to tell the viewer the nature, but the possibility." To fall into symbols is to give up one's own heterogeneity, to give up the possibility of lifelong search (Gao Ge).
Gao Ge "Heart of St Augustine" 40×30cm Acrylic on canvasGao Ge "Shepherd's Granada" 40×30cm Acrylic on canvas对于观者，高歌希望她的画首先是画，纵然有戏剧、文学的编译在里面。但显而易见：图像本身所能捕捉到的关于“语言”（这仅指沟通媒介本身）的表现潜力， 是她更在乎的东西。前者是以叙述和阐释本身作为传达的途径，而后者则更多在意的是图像本身所能被洞见的意味表征。
For the viewer, Gao Ge wants her paintings to be paintings first and foremost before anything else. Even if there are theatrical and literary compilations in them. But it is clear that what she cares more about is the expressive potential that the image itself captures in terms of ‘language’ (which refers only to the medium of communication itself). Whereas the former uses narration and interpretation as a means of communication, the latter is more concerned with the representations of meaning that can be discerned in the image itself.
高歌《日暮之光》13×19cm 纸本彩铅
Gao Ge "Sunset Light" 13×19cm Colour Pencil on Paper
2023
Gao Ge "A Little Touch" 200×100cm Acrylic on canvas
关于色彩语言，是她画面中最受争议和备受关注的东西。于她而言，现阶段生活中与“亲密关系”（Intimate relationship）相关的人物图式，都会成为她创作中的灵感素材。她说她喜欢观察形形色色的人们，作为旁观者去观测不同的人生百态，这很有意思。世间男男女女饮食人生，经过她的处理和提炼，赋予她主观的颜色，图式、色彩、笔触在画面中达到高度和谐。
Color language is the most controversial and concerned thing in her paintings. For her, the character schema related to "Intimate relationship" in her life at this stage will become the inspiration material in her creation. She said that she likes to observe all kinds of people, as a spectator to observe different life events, it is interesting. The food life of men and women in the world, after her processing and refining, gives her subjective colors, schemata, colors, strokes in the picture to achieve a high degree of harmony.
Gao Ge "See You Tomorrow" 200×100cm Framed paper and coloured pencil on board对于画面人物之间、物物之间微妙的联系，她又会进行一些看似松弛但又准确的安排。比如《烤肉》这幅画，人物面部的表情语言、人物身份形象都不重要所以进行了虚焦处理，然而画面中所有的人又都在盯着面前这个烤肉骨头本身。隐藏在画面中的“所指”，在此刻逐渐从模糊中清晰。正如高歌本人所说的，“我希望观者从我的画中看到的东西，不是我想让他们看见的，而是通过这些画去达到自己想去的地方。”????????????????????????????????????????????For the subtle connection between characters and objects in the picture, she will make some seemingly loose but accurate arrangements. For example, in the painting ‘Roast Meat’, the facial expression and identity of the characters are not important, so it is defocused, but all the people in the picture are staring at the roasted meat bone in front of them. The ‘reference’ hidden in the picture gradually becomes clearer and clearer at this moment. As Gao Ge himself said, ‘I hope that what the viewers see in my paintings is not what I want them to see, but that they can go to the place they want to go through these paintings.高歌《烤肉》120×150cm 布面丙烯
Gao Ge "Roast Meat" 120×150cm Acrylic on canvas
2022
Q：你觉得十年后自己的生活状态会是什么样，会继续做艺术吗？A：十年之后甚至如果能活百年，我都会一直画画。之前看马蒂斯在病床上用长杆连接毛笔坚持画画，那就是我心里一个热爱绘画的人最终的样子。Q：最近有什么感兴趣的主题吗?什么样的场景和素材会吸引到你?A：最近对文艺复兴时期的油画和雕塑中的人体很感兴趣,对鲁本斯油画作品里的人体用我的绘画语言做了解构和再造,也有些关于巴尼尼的雕塑还有宋代木雕造像的一些构想。A：之前我经常讲我擅于精心控制的草率,最近更精于控制,但并不想流于制作。A：我从开始画画就有很强的个人风格,我有自己的绘画语言,但我没有强调图像的个人符号。忘了谁说的,艺术工作不是为了告诉观者样本性,而是给出可能性。当艺术家陷入所谓的符号中时,也就放弃了自身的异质性,放弃对可能性的终身求索。我的作品猛一看可能风格多变,但是背后的绘画逻辑其实一直是贯穿的,只是我在一组一组不停地整理自己。A：《“白银时代”的落地:明代货币白银化与银钱并行格局的形成》、《战争之波:现代世界中的民族主义、国家形成与族群排斥》、《吞云叶雾:西方烟草使用史》
画完画趴在工作室路对面田野边晒背
After painting, I lay down in the field across the road from the studio and sunbathe my back.
冬天路过一片上了药的树林，连成一片黄色的雾，感觉也算是农民在做大地艺术。
Passing through a forest of medicated trees in the winter, connected in a yellow mist, feels like a farmer making earth art of sorts.
过年在超市的香料区拍的，一大片配好的炖肉料有一种无序的美感。Taken in the spice section of the supermarket over New Year's Eve, there's a disorganised beauty in a large expanse of paired stew ingredients.
Roast Suckling Pig made of Lego.
Salted fish hanging from street lamps photographed on a trip down south, like a contraption高歌
1984生于开封
现工作生活于中国北京和澳大利亚悉尼?
展览
2024 年“重塑的风景”，玉兰堂，上海，中国 / 2023“冬青的礼物“女性艺术家联展，玉兰堂，上海，中国；色相与世相”,库比森画廊,上海，中国；西岸艺博会，西岸艺术中心，上海，中国；“簇生—山与秋季群展”，山与艺术，上海，中国；2023艺术深圳，深圳会展中心，深圳，中国；“多重折射—现代主义的幽灵”，库比森画廊，上海，中国；“倒映”，Object Momento 画廊，上海，中国/ 2022年西岸艺博会，西岸艺术中心，上海，中国；Art021，上海展览馆，上海，中国；“高歌歌声高”，库比森画廊，上海，中国；“镜像高歌：元宇宙的一瞥”，一条艺术，线上展览/ 2021年“房间”，库比森画廊，上海，中国；“荔枝玫瑰香气”，龙美术馆西配楼 Hi 艺术空间，上海，中国/ 2020年“齐物论 逍遥游 应帝王庄子与济慈”，妙有艺术，北京，中国/2024年Art Projects Gallery x 1600 Pandas World Tour HK ，Art Projects Gallery&世界自然基金会，香港，中国/2013年“清醒梦”，Art Projects Gallery，香港，中国/2012年台北艺术博览会，台北，中国；“Open space Base” 国际艺术家驻场计划，釜山，韩国；高歌个展，Niche Gallery，东京，日本/2011年“在此出发”中原国际当代艺术交流展，河南省美术馆，郑州，中国/2010年新青年的都“绘”生活——新锐艺术家作品展，喜玛拉雅美术馆，上海，中国??????????
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