三十二相系列之一 | 绿洞——罗荃木个展

《绿洞》—— 作为认知的隐喻

透过隐喻性景象再现人类面对自然与历史时的渺小与微茫，《绿洞》中人物身影与入口处的光线交织，仿佛他们正将汇入一个全新且未知的时空。这一命名暗含对当代认知困境的讽喻，以艺术语言重构诗性的阅读路径：将观者引入有关存在、记忆与认知边界的思辨空间。画面中，洞口象征时空的裂隙，绿色光芒从深底透出神秘力量，人物在此裂缝中实现对自我、及对世界的持续探寻。

《绿洞》 罗荃木 250×200cm 布上油画 2024年

与之对应的《考古》系列，则将时间的线性逻辑拆解为层层堆砌的颜料地形，艺术家特殊的绘画手法变相模拟着考古现场。发掘对象并非只是物质遗存，同时也是被掩埋的集体记忆与身份碎片。画面中若隐若现的符号铺筑文明的基因链，暗示历史从来不是单数叙事，而是在不断篡改与重构中形成的复数记忆场。

《考古》 罗荃木 200×200cm 布上油画 2023年

《天方夜谭》构建了一座视觉的巴别塔，将阿拉伯纹样、超现实元素与赛博格意象组织成流动的叙事迷宫。罗荃木在此实践着德勒兹所说的“感觉的逻辑”：画面中交错的黄金分割线与大型色块构成张力，使观者在现实认知框架与溢出的幻觉间反复震荡。这种刻意制造的认知眩晕，恰是对确定性知识的反叛。

《天方夜谭之一》 罗荃木 200×300cm 布上油画 2004年

罗荃木的创作实践，本质上是一场温和的认知书写。《绿洞》作为永恒的提问存在，考古中的历史不是被发掘的客体，而是正在持续生成与繁殖的主体。艺术作为最诚实的认知途径——承认理性的局限，也在感性迸发的旷野中，为观看者补给与未知并行的能量。

那些未完成的圆、虚实交织的叙事、荧绿洞口与记忆的地层，共同显化一道朴素的启示：理解事物的方式，或许正在于学会栖居在问题本身之中。

《圆圈不圆》 罗荃木 200×250cm 布上油画 2024年

"The Green Hole" 

——As a metaphor of cognition

Through metaphorical scenes, the insignificance and vagueness of human beings facing nature and history are reproduced. The figures in "The Green Hole" are intertwined with the light at the entrance, as if they are about to merge into a new and unknown time and space. This name implies an irony of the contemporary cognitive dilemma, and reconstructs the poetic reading path with artistic language: it leads the viewer into the speculative space about the boundaries of existence, memory and cognition. In the picture, the hole symbolizes the crack in time and space, and the green light reveals mysterious power from the bottom. The characters realize their continuous exploration of themselves and the world in this crack.

The corresponding "Archaeology" series disassembles the linear logic of time into layers of pigment terrain. The artist's special painting technique simulates the archaeological site in disguise. The excavated objects are not only material remains, but also buried collective memories and identity fragments. The looming symbols in the picture pave the genetic chain of civilization, suggesting that history has never been a singular narrative, but a plural memory field formed in constant tampering and reconstruction.

《暗影游戏》 罗荃木 120×80cm 布上油画 2024年

"Arabian Nights" constructs a visual Babel Tower, organizing Arabic patterns, surreal elements and cyborg images into a flowing narrative maze. Luo Quanmu practices what Deleuze calls "the logic of feeling": the interlaced golden sections and large color blocks in the picture create tension, causing the viewer to repeatedly oscillate between the real cognitive framework and the overflowing illusion. This deliberately created cognitive dizziness is precisely a rebellion against deterministic knowledge.

Luo Quanmu's creative practice is essentially a gentle cognitive writing. "The Green Hole" exists as an eternal question. The history in archaeology is not an object to be excavated, but a subject that is continuously generated and reproduced. Art, as the most honest way of cognition, recognizes the limitations of reason, and also replenishes energy for viewers to run parallel with the unknown in the wilderness of sensibility.

Those unfinished circles, narratives intertwined with reality and illusion, fluorescent green cave entrances and layers of memory, together manifest a simple revelation: the way to understand things may be to learn ‘how to live in the problem itself’.

《模特》 罗荃木 80×100cm 布上油画 2024年

罗 荃 木

1965年生于江苏南通?，1990 年毕业于南京师范大学?。现生活工作于上海、南京。

曾在苏州博物馆/北京今日美术馆，上海/北京/台北亦安画廊/陶谷公园画廊及 Gallery JChen 等艺术机构举办个人展览。曾多次受邀参加日本福冈亚洲美术馆、意大利曼特尼亚美术馆、成都当代美术馆、当代唐人艺术中心（泰国曼谷）、法国巴黎泰勒基金会、北京国家会议中心、旧金山亚洲艺术博物馆、英国伦敦路易斯布罗恩基金会、维也纳奥地利 Kunstraum Noe Nieder?sterreichische 美术馆、南京博物院等重要联展。作品被苏州博物馆、龙美术馆、江苏省美术馆、德基艺术博物馆、丹麦锡克堡艺术中心、南京萃舍云集当代艺术收藏中心等收藏。