HOW展览｜马莉个展“尤物”，新展即将开幕

尤物

“尤”最初用作描述被阻碍但依然继续生长的植物，意指优异。而尤物，则代表优异、美好的人。宋代诗人陆游在《过小孤山大孤山》中，又用“尤物”一词来形容优美、与众不同的风光。

艺术家马莉全新个展「尤物」意在追本溯源，摒弃外部世界的凝视与审判，通过自我与生命的不断感知、对话，以画为媒传递人性与自然之美。艺术家在毫不吝惜将内观的世界呈现之时，又作为孤独的旁观者，将对于美好本身的珍视藏于看似热闹的花团锦簇中。

马莉生长于江南，拥有传统戏曲与现代电影的双重背景。这让她的创作不被技术所束缚，不拘泥于单一艺术形式或流派。她的创作直接而感性，在看似传统的风景、写真中，是真挚的情感表达与自由的色彩运用。《粉红沙滩》是马莉的风景代表作系列之一。现实中，粉红沙滩是沙粒混合着珊瑚虫与海洋生物残骸的自然景观。而正是这被艺术家称为“尸骨群上的浪漫”的风景，将其创作里对自然的思考与想象展露无遗。马莉从2016年开始创作《粉红沙滩》系列延续至今。对于同一主题长久的创作动力，始于艺术家对于美好世界的憧憬，落笔于自然景观上，是其内在需求转化为具象视觉的体现。对于马莉来说，她所创作的画面是诞生于身体内部的冲动与情绪，而绘画是将这些生理感受传递出去的媒介，是另一种不得不说的言语。

在马莉的作品中，既有生动的自然风景，也不乏明艳灵动的女性人物。即便在女性主义标签常常引发讨论的当下，艺术家马莉也从不避讳对于美好人事物的直观描绘。哲学家雅克·拉康曾在其著名“凝视”（gaze）理论里说到，主体拥有主动与被动两种凝视。无论回顾过往，还是聚焦社交媒体为主流审美的当今，我们都不可否认，个体、尤其是女性，往往被定位为欲望的客体，是被凝视的存在。在马莉以自己为原型的《莫莉的世界》系列中，她从个人视角延伸至整个群体。将女性真实的欲望与美好毫无掩饰的展露于画面中，试图通过直白地刻画，温柔地夺回主体性，坚定的与凝视对视。

艺术家以花为主题的《莫莉花色》系列作品也组成了本次个展《尤物》的重要部分。马莉对于花的热爱，实则反映了她对生命的态度。作品《立夏：玫瑰花园》中，马莉将所有她种过的玫瑰花品种与女性人物交织融合，把自己真实的生活方式链接至创作中。而在《人间尤物》系列里，马莉更是将花朵转变为美好本身的象征，继而让花成为一种独属于自己的艺术语言符号。“…用现实本身批判现实，也可以用赞美本身赞美生命。”（马莉手稿：玫瑰信签）发现本源之美并用其对抗虚无的方式，又何尝不是尤物的本意？

Stunner 

The word "yóu" was originally used to describe plants that were hindered but continued to grow, meaning excellent. Stunner represents excellent and beautiful people. In his poem Crossing Xiaogushan and Dagushan, the Song Dynasty poet Lu You used the word "Stunner" to describe the beautiful and distinctive scenery.

Artist lilyma's new solo exhibition Stunner intends to trace the origin, abandon the gaze and judgement of the external world, and use painting as a medium to convey the beauty of humanity and nature through the constant perception and dialogue between oneself and life. The artist presents her inner world without stinting, while at the same time acting as a lonely outsider, hiding the value of beauty itself in the seemingly lively flowers.

lilyma grew up in the south of the Yangtze River, with a background in both Chinese traditional opera and modern film. This allows her to create works that are not constrained by painting skills and are not confined to a single art form or genre. Her creations are direct and sensual. In the seemingly traditional landscapes and portraits, they are sincere expressions of emotions and free use of colours. Pink Beach is part of lilyma's series of landscape masterpieces. In reality, pink beach is a natural landscape where sand particles are mixed with the remains of coral bugs and marine life, and this landscape, which the artist calls 'Romance of the live and death', reveals her thoughts and imaginations about nature in her creations. lilyma began creating the Pink Beach series in 2016 and continues to this day. The long-lasting motivation for the same theme begins with the artist's vision of a beautiful world and ends with the natural landscape, which is a manifestation of her inner needs transformed into figurative vision. For lilyma, the images she creates are born from the body's internal impulses and emotions, and painting is the medium through which these physical sensations are conveyed, another kind of speech that has to be spoken.

In lilyma's works, there are both vivid natural landscapes and bright and dynamic female figures. Even at a time when the label of feminism is often debated, artist lilyma has never shied away from visually depicting beautiful people and things. The philosopher Jacques Lacan, in his famous Gaze Theory, said that the subject possesses both an active and a passive gaze. Whether looking back at the past or focusing on the present day, where social media is the dominant aesthetic, we cannot deny that the individual, and female in particular, are often positioned as objects of desire, as beings to be gazed upon. In Moli's Heart series, which lilyma modelled on herself, she extends her perspective from the individual to the group as a whole. The true desires and beauty of women are unabashedly displayed in the images, attempting to gently recapture subjectivity through straightforward portrayals, firmly confronting the gaze.

The artist's flower-themed Moli's Fantasy series also forms an important part of this solo exhibition, Stunner. lilyma's love for flowers actually reflects her attitude towards life. In her work Beginning of Summer: The Rose Story, Passion of LOVE, lilyma intertwines all the rose varieties she has planted with the female characters, linking her real lifestyle to her creations. In the series of The Stunning Beauties, lilyma transforms flowers into symbols of beauty itself, and then makes flowers a symbol of her own artistic language. '...to criticise reality with reality itself, or to praise life with praise itself.' (lilyma's Manuscript: Rose Letter ) How is discovering the beauty of the source and using it to fight against nihility not what the Stunner was meant to be?

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