在馬茲利什畫廊舉辦的個展“秘密”中，羅一的深情畫作喚起了源遠流長、無限可能的永恒之歌。這些抽象藝術(shù)作品具有石頭的深度和力量，以及空氣和空間的輕盈。羅一不僅鼓勵她的觀眾觀看她的藝術(shù)作品，而且還鼓勵他們傾聽并移位欣賞。作品的音樂性來自羅的音樂家背景，她在畫布上畫的樂譜講述了古老的友誼和愛情歌曲。為了充分體驗不斷變化的色彩、深度和空間，觀眾被迫從左到右、從上到下移動，以掌握每件藝術(shù)品的強大存在所描述的維度。

In the current solo exhibition at the Mazlish Gallery, the soulful paintings of Loy Luo evoke timeless songs with unknown origins and infinite possibilities. The abstract artworks have the depth and strength of stone combined with the lightness of air and space. Luo not only encourages her audience to look but also to listen and move in place as they view her art. The musicality comes from Luo’s background as a musician and her notations that are painted on the canvas recount ancient songs of friendship and love. To fully experience the evershifting color, depth and space, the viewer is compelled to move from left to right and from up to down in order to grasp the dimensions described by the powerful presence of each artwork.

羅一個展現(xiàn)場

羅一的所有作品都呈現(xiàn)出一種廣闊無邊的空間。在這個漂浮的、無重力的世界里，羅一以一種信念來描繪無形的事物，使這些抽象變得明顯。她用精確、刻意的筆跡創(chuàng)造了一個根據(jù)環(huán)境光線而變化的煉金術(shù)表面。在《半部金剛經(jīng)》中，地面的礦物綠色將懸浮的痕跡和物體以及刻在銅銹上的書法符號結(jié)合在一起。在《抽象劇場A8》中，自我意識懸浮在凝視玫瑰色光芒的體驗中，其中點綴著漂浮的形態(tài)，這些形態(tài)既像飛鳥又像實體。這種傾斜空間產(chǎn)生的眩暈感是由似乎隨著時間的推移而加速的景深引起的。在《符文》系列中，不同空間的感覺更加直接：在《符文2》中，當人們向上凝視時，這幅畫喚起了透過樹木的陽光；在《符文3》中，大氣的藍色讓觀者仿佛在天球中漂浮。

All of Luo’s artworks present a vast, borderless space. In this floating, gravity-free world, Luo paints intangibles with such conviction that these abstractions are made manifest. With precise, deliberate brush marks, Luo creates an alchemic surface that changes according to the ambient light. In Half Diamond Sutra, the mineral green of the ground unites the suspended marks and objects as well as the calligraphic notations scratched into the patina. In Abstract Theater A8, the sense of the self suspended in the experience of gazing towards a rosy light peppered with floating forms that are at once bird-like yet solid. The vertigo created by this tilting space is caused by a depth of field that seems to accelerate with the passage of time. In the Rune series, the sensation of different spaces is more direct: in Rune 2, the painting evokes the sunlight through trees as one gazes upwards and in the painting Rune 3, the atmospheric blue places the viewer adrift in a celestial orb.

羅一個展現(xiàn)場

這種制圖品質(zhì)一直延續(xù)到《心經(jīng)》系列中。在這些畫作中，夜光顏料潛伏在平靜的大地色之下。正是在通過這種發(fā)光的銅銹對顏料進行切割的過程中，羅一揭示了這幅畫的旅程的深度。書法符號如雨點般落在畫布上，不斷喚起故事、歌曲和詩歌的記憶。有些作品，比如《心經(jīng)一》，甚至玩弄了光。當觀看者在畫作前移動時，顏色會神奇地從黑色變?yōu)榻鹕�，然后又回到黑色。這種視錯覺揭示并掩蓋了其自身的含義，誘使觀看者靠近，然后在持續(xù)的“來回”感覺中走開。隨著時間的推移，觀眾只有通過不斷地與藝術(shù)品接觸，對銘文、空間和色彩變化的理解才變得清晰。

This cartographic quality continues through to the Heart Sutra series. In these paintings, there are luminous pigments lurking beneath a calming overlay of earth colors. It is in the incising of the paint through this glowing patina that Loy Luo reveals the depth of the painting’s journey. Calligraphic symbols rain down the canvases in a constant torrent of memories evoking stories, songs and poems. Some artworks, such as Heart Sutra I, go so far as to play with the light. As the viewer moves in front of the painting, the colors shift magically from black to gold and back to black. This optical illusion reveals and obscures its own meaning, cajoling the viewer to come close and then to step away in a continual “back and forth” sensation. It is only by remaining engaged with the artworks over time does the understanding of the inscribed words, the space and the shifting colors become clear.

心經(jīng)-1，綜合材料，Heart Sutra-1, Mixed Media, 60*72", 2023

心經(jīng)-2，綜合材料，Heart Sutra-2, Mixed Media, 60*72", 2023

最新的藝術(shù)作品“古琴”系列，古琴指的是原產(chǎn)于中國的橫滑吉他，羅一用它來演奏音樂。在《古琴一》和《古琴二》中，羅在白色的田野上寫下傳統(tǒng)民歌的音符。有時，音符會被鋸齒狀的樂觀邊緣突然切斷，就像一個無法愈合的古老傷口。在這兩幅畫中，文字似乎被雕刻成白色大理石，既堅固又像云一樣蒸發(fā)——就像音樂的記憶在演奏后就消失了一樣。

The most recent series of artworks, Guqin, refer to the horizontal slide guitar native to China with which Loy Luo performs her music. In Guqin I and II, Luo writes the notes of a traditional folk song on a white field. Sometimes the notes are cut off abruptly by a jagged sanguine border like an ancient wound that refuses to heal. In both paintings, the texts seem to have been incised into white marble that is at once solid yet poised to vaporize like a cloud- just as the memory of music disappears just after it is performed.

古琴-2，綜合材料，Guqin-2, Mixed Media, 60*72", 2023

白陶-1，綜合材料，Earthenware-1, Mixed Media, 48*60“", 2022

羅一所有藝術(shù)作品背后的凝聚力是她用大型抽象畫和較小的抽象作品所描述的巨大力量和空間。她的標記制作的交替擦除和保持、她的色彩的穿透力和隱含的大地電流的力量都被羅一注入了一種存在的輕盈。當藝術(shù)家呈現(xiàn)一個古老的故事時，這些銘文是顯化的思想，像一段快被遺忘的旋律一樣落在觀眾的腦海中，隨著時間的流逝和隨之而來的重寫，傳達了關(guān)于如何愛和生活的永恒指示。

The uniting force behind all of Loy Luo’s artworks is the immense strength and space she describes with her large abstract paintings and smaller works on paper. The alternating erasure and endurance of her mark making, the piercing luminosity of her colors and the power of implied telluric currents are all infused by Luo with a lightness of being. The inscriptions are manifested thoughts that rain down in the mind of the viewer like a half-forgotten melody as the artist presents an ancient tale, patinated with age and its accompanying palimpsests, conveying timeless instructions on how to love and live.

復(fù)寫本-1，綜合材料，Palimpsest-1, Oil on canvas, 48*48", 2023

青瓷-3，綜合材料，Celadon-3, Mixed Media, 48*60“", 2021

符-3，布面油畫，Rong-3, Oil on canvas, 48*48", 2022