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梁远苇｜“五色土”创作手记

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转自公众号：外交公寓12号
http://mp.weixin.qq.com/s?__biz=MzI4MzE0NjQzMg==&mid=2649709389&idx=1&sn=81500ec5e89086e17e5ca7a3c038f231

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，西窗及北墙），手机摄影：周翊。Wu Se Tu (dining room, west window and north wall), photo by Zhou Yi with iPhone. 11/27/2024, 3:00 PM.

这个项目名叫“五色土”，在过去的一个月间，我使用基础五色的复写纸、一些圆形纸片、四把梳子，画满了外交公寓12号客厅的天花板和所有墙面。

It is called "Wu Se Tu," the project I have been working on over the past month. With carbon paper in five basic colors, a few pieces of round cutouts, and four combs, I transformed the ceiling and walls of the living room at DRC No. 12 with my drawings.

五色土（入户玄关）。Wu Se Tu (dining room, entrance foyer). 11/22/2024, 2:50 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅入口）。Wu Se Tu (dining room, entrance). 1/30/2024, 4:07 PM.

“普天之下莫非王土”，在中山公园的社稷坛，可以看到采自华夏大地的五色土。但我对“五色土”的概念来自于小时候爱看的北京晚报文艺副刊。它光怪陆离的内容和千变万化的刊头设计，给幼年的我带来过很多对世界与未来的憧憬。在互联网和电脑设计还未降临的纸媒时代，报纸刊头的设计每一天都不同。这种微型的版画，是我曾喜爱收集的剪报内容，也是出黑板报时常用的参考资料。“五色土”作为统治工具的原意，在老百姓的日常业余读物中被转移成了文艺园地的比喻，这个巧妙的概念转移，提示了我在本项目中将它再次转移成新的视觉语言。

"All under heaven belongs to the king." At Shejitan, Altar of the Soil and Grain, in Beijing’s Sun Yat-sen Park, one can find soil in five colors from different regions in China. Yet for me, "Wu Se Tu," or five-colored earth, refers to an eponymous literary section in the Beijing Evening News newspaper which I enjoyed reading when I was young. Through a kaleidoscope of content and the ever-changing masthead design in "Wu Se Tu," I, as a kid, envisioned the world and the future. In the heyday of print media before the omnipresence of the internet and digital design, mastheads in the newspaper changed every day. They are small print works that were my favorite clippings and collections and often served as references for the bulletin board designs in the classroom. A term for dominion and governance was re-contextualized as the diversity of literature in readers’ affinity with the periodicals. This subtle shift of connotation prompts my re-imagination of "Wu Se Tu" into a new visual language.

梁远苇｜“五色土”创作手记崇真艺客

五色土（书房，南墙），墙面上展示的 80 年代－90 年代早期北京晚报文艺副刊“五色土”的版面。Wu Se Tu (study room–south wall), displayed on the wall are clippings of the “Wu Se Tu” literary section in Beijing Evening News from the early 1980s to the early 1990s. 11/27/2024, 4:33 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（书房，南墙），南墙面上展示了若干在工作室做的实验手稿及方案参考资料。Wu Se Tu (study room, south wall), drafts and reference materials created in the studio displayed on the south wall. 11/22/2024, 4:15 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（书房，南墙及西墙）。Wu Se Tu (study room,south wall and western wall). 11/16/2024, 3:48 PM.

建国门外外交公寓，是建于二十世纪70 年代用于国事接待的苏式建筑，它的内外部结构和装饰风格雅致而从容，其设计标准远高于当年北京普通家庭住宅，是八、九十年代北京最好的住宅之一，也曾是我和朋友们向往但无法涉足的一片飞地。外交公寓12号是中国当代艺术图景中具有独特意义的机构。今年春夏当我第一次来到这个机构的现场，公寓朝西的窗景和其中的一个圆形，给我留下了深刻的印象。“It’s both a set and a mind-set, a physical space and an imaginary cultural space. ”[1]

The Diplomatic Residence Compound at Jianguomen Outer Street is a cluster of Soviet-style buildings built in the 1970s for diplomatic receptions. The elegant and contained structure and decorative style of their interior and exterior enjoy a design standard that excels the ordinary neighborhoods in Beijing at the time. Known as one of the best residences in Beijing in the 1980s and 1990s, the compound was a place my childhood friends and I aspired to but unable to access. DRC No. 12 is a unique institution in the contemporary Chinese art scene. When I first visited this space earlier this year, I was deeply impressed by the view through its west windows and by one particular circular element in that landscape. "It’s both a set and a mind-set, a physical space, and an imaginary cultural space."[1]

[1] Chris Vognar, "Interior Chinatown Puts Stereotypes in the Spotlight," NY Times, Nov. 19, 2024.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，天顶、南墙、北墙及西窗）。Wu Se Tu (dining room, ceiling, south wall, north wall, and west window). 11/27/2024, 4:08 PM.

我是一个以绘画为主要媒介的艺术家。我感兴趣绘画与所在环境的结构性关系：物理空间的，文明历史的，当下现实的……在过往的每一次个展中我都对绘画与环境的关系进行了实验。这种兴趣也驱使我在过去的十年间，不断走到世界上不同文明、不同时代的壁画现场做实地考察。相比在象牙塔中对资料进行拼贴和编辑，我更喜欢将自己置于具体的环境中去体验和感受，再用被环境和事件“改编”过的身心来创作。

在 2023 年的洛杉矶驻地项目中我所使用的工作室也是朝西的空间，位处洛杉矶下城服装工业区的一座高层建筑里，毗邻美国最大的贫民窟之一 Skid Row。当时我将自然光、建筑、人文等环境因素联系起来考虑了绘画的内容和展示。我在室内的墙面和地面铺满捡来的包装纸，在上面绘制了巨幅壁画的木炭线稿，将驻地创作的油画与水彩作品穿插于其间。

As an artist who practices mainly with painting, I am deeply interested in the structural relationships between painting and its surroundings—physical, historical, present, and absent. In each of my previous solo exhibitions, I have consistently experimented with this relationship, which also incentivized me to conduct field research over the past decade on murals from different civilizations and historical periods. Rather than collaging and editing materials in an ivory tower, I prefer immersing myself in specific environments to experience and perceive and then practicing with a body and mind "re-edited" by that embodied experience.

The studio of my 2023 residency in Los Angeles was also west-facing, located in a high-rise building downtown within a district of the clothing industry adjacent to SkidRow–one of the largest slums in the United States. At the time, my rumination on the content and form of my paintings revolved around the interplay of natural light, architecture, and culture. I covered the walls and floors of the studio with scavenged packaging paper. As if making murals, I drew large-scale charcoal sketches on the paper which were later punctuated with other oil and watercolor works.

DTLA 工作室内景，展示在洛杉矶驻地项目中创作的水彩作品，手机摄影。Interior of the artist’s studio in DTLA, showcasing watercolor works made during the Los Angeles residency, photo by the artist with iPhone. 10/23/2023, 5:56 PM (PST).

梁远苇｜“五色土”创作手记崇真艺客

DTLA 工作室内景，展示在洛杉矶驻地项目中创作的布面油画与纸上木炭作品，手机拍摄。Interior view of the artist’s studio in DTLA, showcasing oil paintings and charcoal works on paper created during the Los Angeles residency program, photo by the artist with iPhone. 10/23/2023, 5:32 PM (PST).

DTLA工作室内景，展示在洛杉矶驻地项目中创作的布面油画、纸上水彩、纸上木炭作品，东墙面尺寸：H 400 x W 1800 cm，手机拍摄。Interior of the artist’s studio in DTLA, showcasing oil paintings on canvas, watercolors on paper, and charcoal drawings on paper created during the Los Angeles residency program, east wall dimensions: H 400 x W 1800 cm, photo by the artist with iPhone. 10/12/2023, 5:31 PM (PST).

2024 年的外交公寓12号项目，给我机会第一次直接在墙面上实施创作。但是在这里，我想使用间接性的绘制方式，而不是所见即所得的绘画方式来传达观念。因为“间接”中的“直接”，“受限”中的“无限”，是我在“五色土”项目中设定的关键词。

In the DRC No. 12 project, I have the opportunity to create directly on the wall for the first time. However, I intend to employ an indirect approach to painting to convey my ideas instead of the straightforward ways of representation and seeing. "Directness within indirectness" and "limitlessness within limits" are the keywords I set for the "Wu Se Tu" project.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，北墙局部），梳子刻划复写纸转印形色于墙上，北墙面尺寸：H 290 x W 390 cm。Wu Se Tu(dining room, part of the north wall), comb-scraped with carbon paper on the wall, north wall dimensions: H 290 x W 390 cm. 11/22/2024, 3:06 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，北门、北墙），梳子刻划复写纸转印形色于墙上，北墙面尺寸：H 290 x W 390 cm。Wu Se Tu (dining room, north door, north wall), comb-scraped with carbon paper on wall, north wall dimensions: H 290 x W 390 cm. 11/30/2024, 4:24 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，天顶、北墙及西窗）。Wu Se Tu (dining room, ceiling, north wall, and west window). 11/22/2024, 4:04 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，天顶、北墙及东墙）。Wu Se Tu (dining room, ceiling, north wall, and east wall). 11/26/2024, 4:20 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，天顶、南墙及西窗）。Wu Se Tu (dining room, ceiling, south wall, and west window). 11/26/2024, 3:53 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，天顶、南墙及东墙）。Wu Se Tu (dining room, ceiling, south wall, and east wall). 11/27/2024, 3:51 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，南门，南墙），梳子刻划复写纸转印形色于墙上，南墙面尺寸：H 290 x W 390 cm。Wu Se Tu (dining room, south door, south wall), comb-scraped with carbon paper on the wall, south wall dimensions: H 290 x W 390 cm. 11/27/2024, 3:52 PM.

五色土（客厅，南墙局部）梳子刻划复写纸转印形色于墙上，南墙面尺寸：H 290 x W 390 cm。Wu Se Tu (dining room, part of the south wall), comb-scraped with carbon paper on the wall, south wall dimensions: H 290 x W 390 cm. 11/27/2024, 3:55 PM.

在绘画中我常对日常生活中的形式做采样、分解、推演，我总试图用尽量单纯的手法达成一些有个人意义的感受。一个人的直觉、情感和记忆，是珍贵的人性印记。我想将自己置于一套限制性的框架之下，倒逼出不能被规训的人性，并以此为桥，连接有共鸣的人。使用这样的工作方法是因为我看到，不愿妥协的人在被限制的环境下所活出的模型，正与此同构。

没有天然就封闭的媒介，但有封闭的人心。即便身处一个不停被挤压收缩、不能长期稳定的空间中，不愿妥协的人仍然可以使用有限的材料，去描绘无限的愿景。

My work often samples, decodes, and recodes forms from daily life, striving to use primal methods to evoke personal meaning. One’s intuition, emotion, and memory are precious marks of human nature. I try to place myself within a limiting framework to bring forth the ungovernable nature, channeling with those who resonate with my work. For me, this approach mirrors the dynamics in the life of those who refuse to surrender under the complexities of constraints.

No medium is inherently closed off, but the human mind can be. Even in a space that is constantly pressured, shrinking, and unstable, those unwilling to compromise can still use the limited to convey the unlimited.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，北门、北墙、东墙及壁橱）。Wu Se Tu (dining room, north door, north wall, east wall, and built-in closet). 11/30/2024, 4:25 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，北门、北墙、东墙及壁橱）。Wu Se Tu (dining room, north door, north wall, east wall, and built-in closet). 11/19/2024, 4:38 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，北门、北墙、东墙及壁橱）。Wu Se Tu (dining room, north door, north wall, east wall, and built-in closet). 11/26/2024, 4:40 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，天顶及东墙）梳子刻划复写纸转印形色于墙上，东墙面尺寸：H 290 x W 475 cm。Wu Se Tu (dining room, ceiling and east wall), comb-scraped carbon paper on wall, east wall dimensions: H 290 x W 475 cm. 11/26/2024, 4:31 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，天顶、北门、北墙、南墙、北墙、东墙及壁橱）。Wu Se Tu (dining room, ceiling, north door, north wall, south wall, east wall, and built-in closet). 11/19/2024, 3:52 PM.

两年前，面对一系列残酷的个人与公共事件，我借以做出回应的个展具有强烈的形式，也带有应激性的性质。而这次在外交公寓 12 号的项目，是我第一次主动地、正面地对现实问题作出回应。

In my solo exhibition in 2022, I responded to a series of brutal personal and public events in a manner that was formally intense and unconsciously traumatic. My project at DRC No. 12 marks the first time I have consciously and proactively engaged with the reality.

五色土（客厅，天顶、北墙、东墙）。Wu Se Tu (dining room, ceiling, north wall and east wall). 11/26/2024, 3:28 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，天顶、北墙、东墙）。Wu Se Tu (dining room, ceiling, north wall and east wall). 11/26/2024, 3:28 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，天顶、南墙及东墙）。Wu Se Tu (dining room–ceiling, south wall and east wall). 11/26/2024, 3:59 PM.

五色土（客厅，南墙、西墙及西窗）。Wu Se Tu (dining room, south wall, west wall and west window). 11/26/2024, 4:06 PM.

近十年来我圈定了一个狭窄的管道来挤压、推进绘画语言，在这个过程中，各元素不断被简化，提炼，置换。推进的过程漫长而艰难，终于在今年，我触到了在管道构架中一个具有明显张力的节点，准备在此横跳过来展开一个平台。这时遇到的外交公寓12号项目，恰好可以帮我完成一个测试：我想测试当材料和内容被转换，我建立的语言模型是否仍然成立，是否具有开放性；哪些结构是可信的，哪些词汇能够扩展。在此我想基于绘画来探讨一系列有关“媒介”的问题。复写纸，是一个恰当的材料。

For the past decade, I have devoted myself to compressing while developing my visual language as if crawling a shrinking tunnel. Over the course, elements in my painting have been continuously simplified, refined, and reformed. It is a long and formidable journey. Yet this year, I have finally reached a tensioned focal point where I can shift into a new realm and expand my exploration. The DRC No. 12 project is the touchstone for my new departure to experiment with the language system I have developed. Is it still legitimate, compatible, and reliable when the content and contexts change, and how can the vocabularies and syntax further evolve? Through drawing, I try to explore a series of questions on the idea of "medium." Carbon paper comes to be the perfect material.

798 工作室内景，油画作品与复写纸实验，手机摄影。Interior view of the artist's studio in 798, oil painting works and carbon paper experiments, photo by the artist with iPhone. 9/14/2024, 1:38 PM.

梁远苇｜“五色土”创作手记崇真艺客

《2017.46》（局部）亚麻布油画，300x250 cm，手机拍摄。Detail of 2017.46, oil painting on linen, 300 x 250 cm, photo by the artist with iPhone. 9/14/2024, 2:06 PM.

798 工作室内景，油画作品与复写纸实验，手机拍摄。Interior view of the artist's studio in 798, carbon paper experiments, photo by the artist with iPhone. 9/14/2024, 1:38 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（卧室，项目中使用过的复写纸，西窗）。Wu Se Tu (bedchamber, carbon paper used in the project and west window). 11/22/2024, 3:55 PM.

五色土（卧室，项目中使用过的复写纸，西窗）。Wu Se Tu (bedchamber, carbon paper used in the project and west window). 11/22/2024, 3:52 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（卧室，项目中使用过的复写纸）。Wu Se Tu (bedchamber, carbon paper used in the project). 11/18/2024, 4:11 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（卧室，项目中使用过的复写纸，西窗）。Wu Se Tu (bedchamber, carbon paper used in the project, and west window). 11/19/2024, 2:37 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（卧室，项目中使用过的复写纸，西窗）。Wu Se Tu (bedchamber, carbon paper used in the project, and west window). 11/25/2024, 3:16 PM.

五色土（卧室，项目中使用过的复写纸，西窗，北墙，东门），摄影：王玥。Wu Se Tu (bedchamber, carbon paper used in the project, west window, north wall, and east door), photo : Wang Yue, 11/18/2024, 4:08 PM.

“五色土”方案的出发点是报纸，在概念上，印刷、出版与复写纸都是间接性的媒介；在物质性层面，复写纸，只提供工业用的基础色，而不是 fine art 的色彩。如果想得到丰富的色彩，就需要套叠，但套叠过多，颜色又会变脏，所以就要在复写纸与绘画基底之间做“区隔”。从在工作室第一次碰到复写纸，到能画出自由而丰富的色彩，我用了一个月的时间。这些看似闪烁迷幻的色彩，不是靠对颜料调制、涂抹的动作得到的，而是靠在提供基础色的复写纸和作为区隔的纸片这两种性质的纸之间做“施压”、“划擦”、“加”、“减”、“位移”等动作得到的。

The starting point of the "Five Color Clay" project is the newspaper. Conceptually, printing, publishing and carbon paperr are all indirect media; at the material level, carbon paperr only provides the base color for industrial use, not the color of fine art. If you want to get rich colors, you need to overlap, but if you overlap too much, the colors will become dirty, so you have to make a "separation" between the carbon paperand the base of the painting. From the first time I encountered carbon paper in the studio, it took me a month to be able to paint free and rich colors. These seemingly shimmering and psychedelic colors are not obtained by the action of modulating and applying paint, but by "applying pressure" and "scratching" between the two properties of the paper, namely, the carbon paper that provides the base color and the paper that serves as a barrier, "Adding, subtracting, displacing, etc.," between the paper that provides the base color and the paper that separates the two.

梁远苇｜“五色土”创作手记崇真艺客

五色土（书房，东墙、北墙与南墙），书桌上陈列项目中使用过的一些工具和材料，东墙面上展示五色复写纸邀请观众尝试使用，摄影：王玥。Wu Se Tu (study room,east wall, north wall, and south wall), tools andmaterials for the project displayed the desk, with five-colored carbon paper on the east wall for visitor interaction, photo : Wang Yue. 11/16/2024, 3:40 PM.

五色土（书房，书桌，南墙及西墙），南墙面上展示了若干在工作室做的实验手稿及方案参考资料。Wu Se Tu (study room, desk, south wall, west wall), drafts and reference materials displayed on the south wall. 11/22/2024, 4:10 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（书房，南墙），南墙面上展示了若干在工作室所做的材料和技法实验手稿，梳子刻划复写纸转印形色于白报纸。Wu Se Tu (study room, south wall), drafts of technical and material experiments from the studio are displayed on the south wall, comb-scraped carbon paper on white newsprint. 11/22/2024, 4:16 PM.

五色土（书房，在工作室所做的材料和技法实验手稿），梳子刻划复写纸转印形色于白报纸，创作时间为2024年9月至2024年10月。Wu Se Tu (study room, drafts of material and technical experiments in the studio), comb-scraped carbon paper on white newsprint, created from September 2024 to October 2024.

梁远苇｜“五色土”创作手记崇真艺客

隔着复写纸，只要是用硬物刻画都可以在物体表面留下痕迹。但只从痕迹，猜不出工具。如此“画出”的形与色，是不以视觉结果为指导，仅凭着人的动作和力度“盲划”出的痕迹。在工作室的实验中，我喜欢的工具是铁钉和铁钎，因为运用它们的“侧锋”可以留下富有表现力的“笔法”。在外交公寓12号的墙面上，我只使用了梳子。梳子可以刷出大面积的色彩区域，而由不同密度的梳齿交错划出的经纬线，看起来就像纱窗、蚊帐、床单、手帕的纹路一样。墙面基底乍看上去是平整的纯白，但一经彩线的网铺过，墙面的起伏与质感，历史和性格便被巨细无疑、诚实地显影出来。有趣的是，这些形式，这些自然呈现的“笔意”，是用规制固定的工具一挥而就的，如用精细的笔去描摹，反而做不到这样的轻盈。

Any hard object can leave marks with carbon paper. But the mark can hardly be traced back to the tool. Shapes and colors are not intentionally drawn to reach ideal outcomes. Instead, they are blindly scraped with strokes of varied movements and strengths. In my studio experiments, my favorite tools are iron nails and chisels, as their side edges can give expressive brushstrokes. On the walls of DRC No. 12, however, I used only combs. Combs can sweep broadly, and the intersecting lines created by their rows of teeth in varying densities resemble the patterns of window screens, mosquito nets, bed sheets, and handkerchiefs. The wall surface, seemingly flat and smooth, lays bare its texture, flux, history, and personality under the fabric of color with extraordinary detail. Intriguingly, the unintentional gestures with seemingly industrial and rigid materials lead to natural "brushstrokes" with a degree of lightness that refined work can not achieve.

五色土（客厅，北墙细节）梳子刻划复写纸转印形色于墙上，摄影：李维。Wu Se Tu (dining room, detail of north wall), comb-scraped carbon paper on wall, photo: Li Wei. 11/17/2024, 4:02 PM.

五色土（客厅，北墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of north wall), comb-scraped carbon paper on wall. 11/27/2024, 3:30 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，北墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of the north wall), comb-scraped carbon paper on wall. 11/19/2024, 3:56 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，北墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of the north wall), comb-scraped carbon paper on wall. 11/20/2024, 4:23 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，北墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of the north wall), comb-scraped carbon paper on wall. 11/19/2024, 3:57 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，北墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of the north wall), comb-scraped carbon paper on wall. 11/19/2024, 3:57 PM.

五色土（客厅，北墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of the north wall), comb-scraped carbon paper on wall. 11/30/2024, 3:30 PM.

五色土（客厅，东墙，阳台细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of east wall and balcony), comb-scraped carbon paper on wall. 11/30/2024, 3:51 PM.

五色土（客厅，东墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of east wall), comb-scraped carbon paper on wall. 11/30/2024, 3:43 PM.

五色土（客厅，东墙、南墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of east wall and south wall), comb-scraped carbon paper on wall. 11/20/2024, 3:15 PM.

五色土（客厅，南墙、西墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of east wall and the south wall), comb-scraped carbon paper on wall. 11/30/2024, 3:55 PM.

五色土（客厅，东墙，阳台细节）梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, east wall and detail of balcony), comb-scraped carbon paper on wall. 11/20/2024, 3:11 PM.

五色土（客厅，南墙细节），梳子刻划复写纸转印形色于墙上，摄影：李维。Wu Se Tu (dining room, detail of south wall), comb-scraped carbon paper on wall, photo: Li Wei. 11/17/2024, 4:02 PM.

五色土（客厅，南墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of south wall), comb-scraped carbon paper on wall. 11/30/2024, 3:47 PM.

五色土（客厅，南墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of south wall), comb-scraped carbon paper on wall. 11/30/2024, 3:45 PM.

五色土（客厅，南墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of south wall), comb-scraped carbon paper on wall. 11/30/2024, 3:47 PM.

五色土（客厅，南墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of south wall), comb-scraped carbon paper on wall. 11/30/2024, 3:48 PM.

五色土（客厅，南墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of south wall), comb-scraped carbon paper on wall. 11/27/2024, 3:53 PM.

五色土（客厅，南墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of south wall), comb-scraped carbon paper on wall. 11/27/2024, 4:02 PM.

五色土（客厅，南墙细节），梳子刻划复写纸转印形色于墙上。Wu Se Tu (dining room, detail of south wall), comb-scraped carbon paper on wall. 11/20/2024, 3:21 PM.

“重复”、“拆解”、“改编”，我这次针对“五色土”和“圆形”所用的方法与这二十年来我针对布料织物和花卉图案所做的事没有什么不同。天花板上的色彩以经纬线组成，其排布方位和形状来自吕氏春秋中对“五色土”的定义。在垂直的墙面上这些彩线被分解成纵、横、弧线，并通过上千个圆纸片的遮蔽、透叠，表现出树影、水波、旭日、光斑……在这“缂丝”式的工序中，“江山大计”被抽丝剥茧、解离重组成了私人的瞬间；外部的景色，也像在古罗马的壁画中一样，以理想的形式被对应、被留驻在了室内的墙上。夜幕低垂时分，西窗反映出客厅东墙上绘制的朝霞，与窗外西方的晚霞融为一体，这一刻，记忆中的克孜尔石窟与庞贝古城以温暖而轻盈的身姿照进了现实。

In this project, I apply the similar methods–"repetition," "decoding," and "recoding"– that I have employed for the past twenty years among fabric patterns and floral motifs to "five colors" and "circle" motifs. On the ceiling, colors are achieved by intersecting lines like warp and weft. The shape and composition correspond to the rule of the five-colored soil in Master Lü's Spring and Autumn Annals. The colors are decoded into vertical, horizontal, and curved lines on the walls. With dense layering and countless round cutouts, drawings on the wall echo with tree shadows, ripples, sunrise, light patches, etc. The process is reminiscent of kesi, a traditional technique in Chinese silk tapestry. The grand vision is unraveled and weaved into personal moments while the idealized view, outside the window, is reserved on the wall in a way similar to those ancient Roman murals. As night falls, the west window reflects the dawn painted on the east wall of the living room, blending with the dust outside the window in the west. In this fleeting moment, memories from the Kizil Caves and the ancient city of Pompeii are brought into reality, warm and ethereal.

五色土（客厅，天顶、南墙、北墙及东墙），摄影：王玥。Wu Se Tu (dining room, ceiling, south wall, north wall, and east wall), photo: Wang Yue. 12/02/2024, 3:43 PM.

五色土（客厅，天顶），梳子刻划复写纸转印形色于墙上，天花板尺寸：W 475 x N 400 cm，摄影：李维，数字合成：李维、王玥。Wu Se Tu (dining room, ceiling), comb-scraped carbon paper on wall, ceiling dimensions: W 475 x N 400 cm, photo: Li Wei, photo editing: Li Wei, Wang Yue. 11/19/2024, 14:00 PM.

五色土（客厅，天顶，东墙，北墙局部），梳子刻划复写纸转印形色于墙上，摄影：李维。Wu Se Tu (dining room, ceiling, east wall, and part of the north wall), comb-scraped carbon paper on wall, photo: Li Wei. 11/19/2024, 14:08 PM.

五色土（客厅，天顶，东墙，南墙局部），梳子刻划复写纸转印形色于墙上，摄影：李维。Wu Se Tu (dining room, ceiling, east wall, and part of the south wall), comb-scraped carbon paper on wall, photo: Li Wei. 11/19/2024, 14:07 PM.

五色土（客厅，天顶，北墙局部），梳子刻划复写纸转印形色于墙上，摄影：李维。Wu Se Tu (dining room, ceiling, part of the north wall), comb-scraped carbon paper on wall, photo: Li Wei. 11/17/2024, 2:36 PM.

五色土（客厅，天顶，西墙与北墙局部），梳子刻划复写纸转印形色于墙上，摄影：王玥。Wu Se Tu (dining room, ceiling, west wall and part of the north wall), comb-scraped carbon paper on wall, photo: Wang Yue. 11/19/2024, 2:08 PM.

五色土（客厅，东墙局部），梳子刻划复写纸转印形色于墙上，摄影：李维。Wu Se Tu (dining room, part of the east wall), comb-scraped carbon paper on wall, photo: Li Wei. 11/17/2024, 2:35 PM.

五色土（客厅，东墙与南墙）。Wu Se Tu (dining room, east wall and south wall). 11/22/2024, 3:15 PM.

五色土（客厅，西窗），东墙上绘制的朝霞与窗外西方的晚霞融合。Wu Se Tu (dining room, west window), the dawn painted on the east wall blends with the dusk outside the west window. 11/22/2024, 5:18 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（客厅，西窗），东墙上绘制的朝霞与窗外西方的晚霞融合。Wu Se Tu (dining room, west window), the dawn painted on the east wall blends with the dusk outside the west window. 11/22/2024, 5:32 PM.

五色土（客厅，西窗），东墙上绘制的朝霞与窗外西方的晚霞融合。Wu Se Tu (dining room, west window), the dawn painted on the east wall blends with the dusk outside the west window. 11/22/2024, 5:27 PM.

五色土（客厅，西窗），东墙上绘制的朝霞与窗外西方的晚霞融合。Wu Se Tu (dining room, ceiling, south wall, north wall, and west window), the dawn painted on the east wall blends with the dusk outside the west window. 11/22/2024, 5:18 PM.

客厅快画完的时候，我看着这些转移、分解、组合的形与色，感到自己的工作与语言学似乎发生了联系，于是想起还从未读过的索绪尔。找到他的讲义，没读几页就看到了五个彼此嵌套的圆圈，是施密特的“波浪理论模型”。我决定在卧室的东墙上把它用色彩实现出来，因为这个语言学模型在形式上符合本项目的逻辑，在概念上可以把“五色土”的地域性限制打开、引申到更为普世的领域中去。

When I looked at the transformed, decoded, and reformed shapes and colors as the work was almost finished, there seemed to be oblique connections with linguistics. I thought of Saussure. I was new to his lectures, and I came across a diagram of five circles nested within each other—Schmidt’s “wave theory model.” I decided to realize it in color on the east wall of the bedroom in DRC No. 12. because its form shares the same idea with the project and its concept provides a new way to extend the "Wu Se Tu" metaphor beyond its regional and cultural origins to a more universal realm.

五色土（卧室，东墙局部），梳子刻划复写纸转印形色于墙上。Wu Se Tu (bedchamber, part of the east wall), comb-scraped carbon paper on wall. 11/20/2024, 3:35 PM.

五色土（卧室，项目中使用过的复写纸，西窗）。Wu Se Tu (bedchamber, carbon paper used in the project, and west window). 11/22/2024, 5:41 PM.

五色土（卧室，项目中使用过的复写纸，西窗）。Wu Se Tu (bedchamber, carbon paper used in the project, and west window). 11/22/2024, 3:47PM.

五色土（卧室，东墙细节），梳子刻划复写纸转印形色于墙上，摄影：李维。Wu Se Tu (bedchamber, detail of east wall), comb-scraped carbon paper on wall, photo: Li Wei. 11/19/2024, 2:09 PM.

这一切形式，都是在“划”的动作结束、揭开复写纸的一刻才被看到，再被根据视觉经验去联想和组织的。现代文明中，人总是被工具分类、定义着。失聪的贝多芬还是钢琴家 pianist，那“盲划”画画的人，是不是该叫“划家 scraper”？

当全球化把人类方法论魔方上的色彩对齐，也有人想从现代性的快轨上跳车，去原野里寻找自己本来的名字。

All the forms in this presentation only revealed themselves when I finished scraping and peeling off the carbon paper. They were then recognized and associated through visual intuition. In modern civilization, people are often categorized and defined by tools. For example, Beethoven, though deaf, is known as a pianist. Can someone who scrapes blindly be called a "scraper?"

Whereas globalization eliminates the diversity of the methodologies in exploring human nature, some seek to leap off modernity’s fast-moving track and return to the fields in search of their own names.

五色土（实施过程），手机摄影：王玥。Wu Se Tu (implementation process), photo by Wang Yue with iPhone. 10/17/2024, 6:01 PM.

五色土（实施过程），手机摄影：王玥。Wu Se Tu (implementation process), photo by Wang Yue with OnePlus. 10/24/2024, 3:06 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（实施过程），手机摄影：王玥。Wu Se Tu (implementation process), photo by Wang Yue with OnePlus. 11/3/2024, 1:43 PM.

五色土（实施过程），手机摄影：王玥。Wu Se Tu (implementation process), photo by Wang Yue with OnePlus. 11/3/2024, 1:49 PM.

五色土（实施过程），手机摄影：王玥。Wu Se Tu (implementation process), photo by Wang Yue with OnePlus. 10/19/2024, 12:46 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（实施过程），手机摄影。Wu Se Tu (implementation process), photo by the artist with iPhone. 10/25/2024, 3:48 PM.

五色土（实施过程），手机摄影。Wu Se Tu (implementation process), photo by the artist with iPhone. 11/3/2024, 5:43 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（实施过程），手机摄影。Wu Se Tu (implementation process), photo by the artist with iPhone. 10/21/2024, 3:06 PM.

何为虚何为实？当囚徒走出洞口看到了太阳，明白影子和木偶都是虚像，太阳才是最真实的东西；当幼儿蹒跚爬行，用触手可及的物体在墙上画出人生的第一笔，阳光照进母亲的心。

What is imaginary and what is real? When the prisoner comes out of the cave and sees the sun and realizes that shadows and puppets are false images and the sun is the most real thing; when the toddler toddles and crawls and draws the first brushstrokes of his life on the wall with objects within his reach, the sun shines into the heart of his mother.

五色土（书房，东墙的工作材料展示与互动），手机摄影。Wu Se Tu (study room, work material displayed on the wall for visitor interaction), photo by the artist with iPhone. 11/17/2024, 6:59 PM.

五色土（书房，书桌上的工作材料展示与互动），摄影：宋小光。Wu Se Tu (study room, display and interaction of work materials on the desk), photo: Song Xiaoguang. 11/17/2024, 3:19 PM.

五色土（书房，书桌上的工作材料展示与互动），摄影：李维。Wu Se Tu (study room, display and interaction of work materials on the desk), photo: Li Wei. 11/17/2024, 4:37 PM.

五色土（客厅，西窗局部）。Wu Se Tu (dining room, part of the west window). 11/26/2024, 5:18 PM.

就像洞窟的选址总是面朝一条大河，“五色土”朝西的窗外就是宽阔喧嚣的二环路。莫高、榆林、克孜尔窟前的水流都早已干涸，此刻窗前的环路上还川流不息。当人们囿于车河岸边的“洞穴”中沉思，又会得到什么样的了悟呢？

Just like the ancient caves were always facing a big river; the west windows of "Wu Se Tu" is looking out onto the bustling Second Ring Road. The waters in front of Mogao, Yulin, and Kizil caves have long dried up, but the traffic flows ceaselessly. When people are confined to the urban "caves" pondering the rivers of cars, what kind of realization will be obtained?

五色土（实施过程），手机摄影：王玥。Wu Se Tu (implementation process), photo by Wang Yue with OnePlus. 10/17/2024, 3:37 PM.

梁远苇｜“五色土”创作手记崇真艺客

五色土（实施过程），手机摄影。Wu Se Tu (implementation process), photo by the artist with iPhone. 10/16/2024, 4:08 PM.

五色土（实施过程），手机摄影。Wu Se Tu (implementation process), photo by the artist with iPhone. 10/15/2024, 5:25 PM.

作者后记：

本图文推送的制作花了半个多月的时间。这件“特定空间绘画”与空间结构和光线、尤其是与不断变化的自然光线有紧密的联系，这和在常规展厅中的情况完全不同。如何理解和表达这些关系是非常主观的事情，那么对它的图像再现也就难以由他人代劳。为此，主要作为画家在架上单纯地工作了十余年的我，不得不置办影像设备、学习技术，这是没料到的困难。但由于整个项目的实施和推进都是在很短的时间内一气呵成地完成的（做方案一个月，材料实验一个月，实施一个月），不容修改和过多思量，所以在亲自采编制作图文的工作中，我也得以对项目做一次总体审视，得到很多收获。

“五色土”项目，不仅是其使用的工具和材料，而是与其相关的一切工作都无法被工业化执行，就像是一场“前现代”的“农耕实践”，这在当下的环境中是非常任性和奢侈的事。在此我感激外交公寓12号和北京公社两个机构的支持，更感激陪我一针一线搭建成这座海市蜃楼的伙伴们。

除特别注明以外，图片拍摄者均为艺术家本人；
除特别注明为手机拍摄的图片以外，数字修图为艺术家本人、王玥及由北京公社协助；
图文编辑/写作为艺术家本人，英文翻译由北京公社协助；
外交公寓12号空间内的制作协助为王玥、孙盟；
灯光设计安装为艺术家本人；
VR 摄影制作为男兮、袁晗寒；海报设计为王玥与艺术家本人；
中英文修订为黄洁华。

感谢你们，追光的人。

Postscript:

This illustrated post took over half a month. The "site-specific painting" is deeply intertwined with space and light, particularly the ever-changing natural light, which is entirely different from the conditions in a conventional exhibition hall. It is very personal in the ways of understanding and expressing the intricate relationships and thus it is impossible to find someone else to make the visual presentations for me. For someone who primarily practices as a painter before the easel for over a decade like me, it was an unexpected challenge to acquire photography equipment and learn new technical skills. However, through personally capturing and compiling the images and text, I have a comprehensive review of the project, yielding many insights. There was little room for revisions or extensive contemplation during the entire execution of the project because it was carried out in a relatively short amount of time–one month for planning, one month for material experimentation, and another month for implementation.

I reckon that "Wu Se Tu" is not just about the tools and materials but encompasses all the associated work that cannot be industrialized. As if a "premodern" form of "agrarian practice," it is inevitably wayward and imprudent in the present context. For this, I am deeply grateful to DRC No. 12 and Beijing Commune for their support, and even more so to friends who worked with me stitch by stitch to fabricate this mirage.

Unless otherwise specified, all photographs are taken by the artist,
Unless specifically noted as taken by mobile phone, all photos are digitally edited by the artist, Wang Yue, and the Beijing Commune team,
Writings and editing by the artist, with English translation by the Beijing Commune team,
Execution assisted by Wang Yue and Sun Meng,
Lighting by the artist,
VR by Nancy and Yuan Hanhan,
Poster designed by Wang Yue and the artist,
Press release revision in both Chinese and English by Huang Jiehua.

Thank you for all who chasing the light.

展览预约详情请查看【外交公寓12号】公众号。

To make a visit reservation, please check DRC No. 12's official account.

梁远苇｜“五色土”创作手记崇真艺客