评论 TEXT

 


 

 

  去年夏天去欧洲旅行,我有幸访问了老朋友刘秀鸣在维也纳的工作室,看到了她近期创作的一件件人像石刻,很不寻常。他们宛如仰天者、冥想者、惊恐者、悲悯者、无助者、殉道者、天问者……似风、似雨、似雷、似火,一切从宇宙落下,陨石里诞生,刀锋里复活,缝隙里出没,充满浓厚的神秘主义色彩。不写实,不雕饰,不追摹,不跟风,原始而现代,令我兴奋。石头里蕴藏着生命,远古的来客,千年的灵魂,人性的意象,一切活生生的,常人看不到。刘秀鸣却能体验石头内在的悲欢,能感应石头的潜在灵魂,她每天与石头不可言传的神秘力量默默幸会。

  面对石头,刘秀鸣总是情不自禁的欣赏和审视它们,用她纤弱的双手去抚摸和超度它们,那些不规则的石条、石片、石块,没有任何人工打磨的痕迹,一块块即自然又平凡,但在她的眼里,那里已聚集着生命,而且是自然天生而至,就如它们无意之中来到了人间。

  刘秀鸣沉醉其中,把艺术想象和现实中的石头天衣无缝地合璧,应该说这是格式塔心理学所揭示的异质同构的创造(所谓格式塔,是德语gestalt译音,即 “整体”、“完型”之意,因此,格式塔理论,也被称作为“完形理论”)石头的力与她心理的力相对应,石头隐形的意象与她生命体验的沉积相契合,她单纯的内直觉,把石头直接穿越,一切在超乎感性和理性的神秘幻觉中,化限制为自由。这对艺术家并非易事,有着极大的难度。秀鸣会因势利导,适形造型,化残缺为神奇。并且是非预设的,突如其来的涌动,使一切心愿跃然而现,个个灵魂被自然引出,这是一个艺术家的不凡。


清华大学艺术设计学院副院长 刘巨德 2015

 

Last summer on a trip to Europe, I was fortunate to visit my old friend Liu Xiuming. In her Vienna studio, I saw her recent works: one piece after another, extraordinary stone sculptures of human faces, some with heads upturned toward the sky, some lost in deep thought, some looking terrified, some showing pity, some appearing helpless, some resembling martyrs for their ideals, some seeming to question Heaven... They are like wind, rain, thunder, and fire, all descending from the universe, born out of meteorites, resurrected from the edge of the knife, and haunting the in-between spaces. Infused with a rich color of mysticism, the works are neither realistic, nor decorative, neither derivative, nor fashionable. Primitive and modern at the same time, they are deeply exciting to me.

The stone is a reservoir of life, recalling ancient visitors, spirits of a thousand years, images of humanity, and everything that’s vibrant and unseen by ordinary people. Xiuming is able to experience the stone’s innate sadness and joy, and feel its latent soul. Every day she silently communes with its indescribable, mysterious power.

Facing the stones, Xiuming cannot help but appreciate and study them, her delicate hands gently touching them as if performing a ritual. Those irregular stone strips and blocks look natural and ordinary, and have yet to exhibit any trace of being polished by hands, but in her eyes, there is life gathered in them, naturally, as if they arrived in the world purely by chance.

Xiuming is intoxicated with the seamless infusing of artistic imagination with the stones in reality – a kind of heterogeneous isomorphic creation described in Gestalt psychology. The power of the stone matches the power of her psyche. The invisible images of the stone accord with the sediment of her life experiences. Her pure inner intuition transcends the stones. In mysterious hallucinations beyond senses and reasons, she turns limitations into freedom. This is no easy task for artists. Quite the contrary, it’s extremely challenging. Xiuming can make the best use of circumstances, sculpting the stones according to their shapes, and turning imperfection into triumph. These are unpremeditated, spontaneous stirrings, coaxing the souls out of the stones naturally. A truly extraordinary feat.

Liu Jude Deputy Dean Academy of Arts and Design 2015
 

 


 

 

  刘秀鸣艺术与生命的追求始终凝聚于内宇宙与外宇宙的廻环往复中,虽形式有变,创作思路却已经从《离骚》超拔到《天问》,从对大宇宙的追询到对人类原初生命的究问:石头从宇宙洪荒中走来,经过几万几十万年的电火石光风霜雨雪,它们自然最懂得生命的历程、使命和思考,它们更不知积聚了多少话语要向世人诉说和质询,于是,这一块块来历不凡、或粗砺或柔细形状各异的石头,在刘秀鸣的"鬼斧神工"下,各个赋予了或智慧或灵异或深沉或恬美的生命……它们质询着什么?思索着什么?惊异着什么?欣幸着什么?愤怒着什么?……艺术家自有其自己的思考和答案。诚然,一切艺术品的最终完成和完美都在读者和观者的感悟中颖慧中,这是真正艺术家的追求,更是刘秀鸣艺术生命的终极祈愿。(摘选)


美籍华裔作家 李硕儒 2015

 

Liu Xiuming’s artistic pursuits and her ideals in life consistently cohere in the circular movement back and forth between her inner and outer universes, although their forms may have changed. Her artistic approach has been elevated from “The Lament (Li Sao)” to “Questioning Heaven,” from inquiries into the big universe to questioning of mankind’s original life. The stones came forth from the universe’s wilderness, and after hundreds of thousands of years and all the thunder, fire, light, wind, frost, rain and snow, they naturally are best placed to understand life’s journey, mission and contemplation. No one knows how many words these stones have accumulated to share with men, how many questions they want to pose. Some of these stones are rough, some delicate, in a wide variety of shapes and with extraordinary origin. Under Xiuming’s inspired and ingenious hammer, they are imbued with lives that are wise, strange, deep or sweet…… What are they asking? What are they contemplating? What are they surprised at? What are they angry about?...... The artist naturally has her own thoughts and answers. …… Of course, the completion and perfection of all art works depend on the epiphany and wisdom of the readers and viewers. This is the pursuit of a true artist, as well as the ultimate ideal of Liu Xiuming’s artistic life.(Excerpt)

Li Shuoru Chinese American writer 2015
 

 


 

 

  油画家刘秀鸣近来对石头发生了兴趣!是什么原因促使她暂放画笔埋头在这些“顽石”中而流连忘返?在这些并非因石质的名贵而引人瞩目的石头里她究竟发现了什么?而能令她把一直以来视为生命的绘画放到一边?当我有一天突然看到由那些其貌不扬甚至丑陋的石头变换成一张张动人心弦的面孔时,我的心惊异而兴奋:这些从石头的原形中凸现出来的面孔仿佛原来就隐藏在其中却没被人发现,是她独具慧眼,透过久远的“浮尘”寻找出这些被埋没了千百年的尊容,以艺术的名义还他们以本来面目。

  大自然的变幻无常启发了艺术家的创思和幻想。刘秀鸣的雕塑,依形就势,在不改变石块原有形状的前提下赋予它一张人的面孔或面孔的某些局部,她在选择石料时刻意不求完整,雕刻时也无需遵从结构的写实法则,甚至将错就错,在石形原状的基础上进行再创造,其结果妙不可言:面型或残、或缺、或拉长压扁,仿佛都在有意与无意之间做出的变形处理,还有些是运用她在油画创作中的“笔触”特征,以表现运动、速度和模糊性,使人们产生诸多联想,体现了她从绘画到雕塑创作风格上的衔接。刘秀鸣在石雕中运用的这些造型手法,很像中国传统中的“写意”,惜墨如金,点到为止,时时有“神来之笔”。那些形象,或生动,或诡异,或神秘,如鬼斧神工,自然天成。


艺术批评家 贾方舟 2015

 

Liu Xiuming, an oil painter, has taken an interest in stones of late! What are the reasons that have compelled her to lay down her paintbrush temporarily and concentrate on these hard stones with no sign of letting up? What on earth does she see in those stones which are not remarkable or known for their expensive quality? How could they lure her to set aside painting, which she has always treated as important as life? When one day I suddenly saw the transformation of those plain or even ugly stones into deeply moving faces, I was surprised and excited. It was as if the faces emerging from the original forms of the stones had merely been hidden, undiscovered until her wise eyes pierced through distant “floating dust,” and found these faces buried in the stones for thousands of years. In the name of art, Xiuming has returned their true faces to them.
The capriciousness of Nature has inspired the artist’s creative energy and imagination. Xiuming’s sculpture follows the contour and shape of the material, conjuring a human face or parts of a face without having to change the stone block’s original form. In selecting the stone material, she intentionally avoids the perfect shape, and in working on the sculpture, she sees no need to follow the structure’s principle of realism. Sometimes she would even take advantage of a “mistake,” and create shapes on the basis of the original form of the stone. The results are frequently exquisite: some of those faces are incomplete, some flawed, some elongated, and some flattened. The distorting treatment vacillates between intentional and unconscious. Some borrow from the characteristic brushwork of her oil paintings in its representation of movement, velocity and ambiguity. The effects are highly evocative, representing the confluence of her styles in painting and sculpture. The methods Xiuming used in her stone sculptures, in their restraint and economy, and in their constantly inspired and spirited results, resemble the “freehand brushwork” in traditional Chinese art. Those images, be they lively, grotesque, or mysterious, seem the work of a genius, a natural.

JIA Fangzhou Art critic 2015
 

 


 

 

  维也纳幻想写实画派画家刘秀鸣最近创作的《白日梦》系列雕刻让人们眼前一亮。

  如果说她的绘画如气势恢宏的韵律交响,而这些雕塑却如同静默之诗,虽然无言却蕴含着无尽的能量。它们带有一种原始的神秘,呈现在我们眼前,吸引你屏住呼吸,似乎想用灵魂去感受它能量的流动。

  这是一些无名者的肖像,或深邃淡然,或合目微憩,或愕然喟叹……在艺术家刘秀鸣眼中,这些石头本身都具有独特的生命,在历经了千百万年的沧海桑田,它们充满了倾诉的情愫,而她要做的只是通过雕刻,把这些情感释放出来,让观者直视到它们内心的独白。

  看到这些雕像,使我们很容易联想到中国古代雕塑的经典之作──汉霍去病墓石雕(约公元前117年前后),那些不曾留有姓名的艺术家手下的伏虎、跃马、卧象……正是利用坚硬花岗岩的本来面目,稍加雕刻便形成了我们今天看到的气象深沉、博大雄浑的传世杰作。这与艺术家刘秀鸣今天雕塑的理念是一致的。她的雕塑先源于石头本来固有的结构特征,应物相形,因像而为,后又赋予每一块石头独有的情感个性,使他们带着与生俱来的远古厚重,同时又有现代人才具有的精致和梦幻的表情。这些形象的诞生,犹如一个个经过大自然母体而孕育的生命,借助了艺术家的双手重新来到这个世界。

  从绘画到雕塑,刘秀鸣近期的创作实践,会令一些人或有不解。其实不同种类的艺术本是相通的,并不因为表现形式的不同而存在隔阂。运用雕塑具有3维空间的表现手法源于她内心诉说的愿望,非此种方式而不足于表达和释放其对生活与精神更深层面的渴求。艺术创作不也正是艺术家不断寻找自我的过程吗?不也正是要经过无数反复的自我挑战,来体现和证实一个真正的艺术家能够坚守创造的信心和能力吗?

  刘秀鸣出生于中国日出之东的北戴河,少年时光便在那里度过,想必雄浑的山相海貌早已融化在她幼小的心灵之中。面对她的雕塑,不难联想到山的巍峨与海的潮动!——光阴如刃,雕刻出了它沧桑的轮廓,而它内部则涌动着属于大海的、宇宙潜行其中的激情。


艺术中国网副总编 许柏成 2015

 

“Daydreams” appears insouciant and at ease, but it also manifests a kind of insistence and searching that approach stubbornness. The hardness and coolness of the stone and colored glaze themselves also lend the artworks a layer of everlasting faith. -- Xu Baicheng
Liu Xiuming, a Vienna, Austria-based painter affiliated with the Vienna School of Fantastic Realism, has recently created a dazzling sculpture series entitled “Daydreams.”
If her paintings are magnificent rhythmic symphonies, these sculptures are poetry of quietude and silence. Although no words are uttered, they contain limitless energy. With a primitive mystery, they appear before our eyes, grabbing you and making you hold your breath, as if in order to feel the flow of energy with your very soul.
These are nameless portraits. Some seem deep and cool, some in repose with eyes closed, some surprised and sighing… In the eyes of the artist Liu Xiuming, these stones themselves inhabit unique lives. After tens of millions of years of transformation, they desire to confide, and all she needs to do is to release these feelings through sculpture and allow the viewers access to their inner monologues.
Viewing these sculptures, one can easily recall the classic Chinese sculptures, circa 117 B.C., that line the tomb of Han Dynasty general Huo Qubing. Those crouching tigers, leaping horses, and kneeling elephants, from the hands of artists whose names are unknown today, showcase the original forms of the hard granite. With only minimal sculpting, they became the profound and powerful masterpieces that we see today.
Artist Liu Xiuming’s approach today is consistent with this. Her sculptures first originate from the innate structure and characteristics of the stone, adapting the forms according to the materials, and imbuing every stone with unique feeling and personality, so that they possess a natural and ancient gravitas, and at the same time an exquisite and dreamy expression of the modern. These stones were given life by Mother Nature, and through the hands of the artist, they were given a rebirth into this world.
The shift from painting to sculpture in Liu Xiuming’s recent creative practices may baffle some people. But in fact, different artistic genres often speak to each other, without necessarily the barriers resulting from different forms of representation. Her use of three-dimensional space in sculpture is due to her inner wishes to share and relate. She needs this particular representational method in order to express and release her desire to investigate the deeper layers of life and the spiritual world. Artistic creation: isn’t it the constant process of the artist in search of herself? Isn’t it only through countless repeated challenges to the self that a true artist could embody and prove her belief in and capacity for following her own path of creation?
Liu Xiuming was born in Beidaihe in eastern China, where she spent her childhood. Perhaps early on, the magnificent looks of the mountains and the sea were imprinted on her young heart. Facing her sculptures, one is often reminded of the majesty of the mountains and the surging waves of the ocean. Time is like the sharp edge of the sculpting knife, conjuring the contour of the transformations it has wrought. Inside the sculptures surges a kind of passion that belongs to the ocean and encompasses the universe.

Xu Baicheng Deputy Editor-in-Chief art.china.cn 2015
 

 


 

 

  ……东西方之分在刘秀鸣的艺术创作中似已不见踪影,如果观者一味将注意力纠缠于作品的流派与师承,难免会在对其内涵的认识上有所缺失。不同地域之间的沟通与交流,对她来说似乎是一项已然了却的工作,而各种矛盾冲突的呈现与弥和,才是其真正渴望表达的主题。激情与思考,矛盾与深度,这正是画家通过作品所带给我们的东西。观察和描述这些作品,既需要专注,也需要力量。


[奥地利] 琳达•马 柯丽莎 博士 2012

 

Die Künstlerin zwischen Ost und West interpretieren zu wollen wäre zu einfach. Längst sind diese Spuren kaum mehr sichtbar, und das Werk auf Herkunft und Einflüsse zu sehen, würde den überwiegenden Teil seines Gehalts verwischen. Der Transfer zwischen den Erdteilen scheint aufgehoben. Es geht um Auflösung von Gegensätzen und Widersprüchen generell. Es ist Emotion und gleichzeitig Reflexion, was die Künstlerin in ihrem Werk vermittelt, Gegensätze und Dichte. Die Bilder zu betrachten und zu beschreiben erfordert Konzentration und Kraft.
 

Dr. Linda Ma-Kircher (Austria), 2012
 

 


 

速度和变化是这个时代和这个世界最显著的特征。伴随着时空变迁的是生命的流动,时空的变迁被生命所感知,生命的流动带给心灵以感动。如果说刘秀鸣的风景画描绘的是变迁的时空,那么她的人物画则记录的是流动的生命。她以虚化式手法将人物画得扑朔迷离、富有动感,这样的形象既真实又虚幻、既清晰又神秘。通过这种新颖而独特的当代绘画语言,她将时光易逝、生命无常的心理感受变成了生动的视觉 景象。画家有着一颗细腻敏感的心,但不同于许多女性艺术家拘囿于对自我个体生命的微观关照,她的绘画言说的是当代整个人类真实而普遍的生命感受。

中国艺术研究院欧洲部 王端廷 2012

Speed and change are the most prominent features of our era. Along with the changes of time and space are the fluctuation of life, which has perceived changing time and space as well as touching mankind’s soul. If we say that Liu Xiuming’s landscapes depict the changes of time and space, her portraits, I must say, record the fluctuations of life.
She paints her figures whirling, indistinct, dynamic. Such images are characterized by both reality and illusion, clarity and mystery. With such a novel, unique modern language, she has captured human emotions of flying time and ephemeral life with visual scenes created by her colors and lines. Like many artists, Liu Xiuming is fine, smooth, and sensitive. What sets her apart from other female artists is her painting language, which explains people’s true, normal feelings for life in our era.

Prof. at the National Academy of Fine Arts Wang Duanting 2012

 


 

 

  刘秀鸣的人物画体现了她的形式智慧,表明她对于现代社会人与空间环境的认识,不断探索新的表现方法,穿过艺术史的空间,进入到激动人心的意象绘画。在表现手法上通过降低色调和明暗关系,以快速而柔和的笔法,将人物揉入空气之中,从而让人物形象与环境融为一体,获得一种视觉的动感。她强调个人想象的图像,注重在使用颜料上自由而有机的表现性,将情绪放到画面笔触的领域。对于人物形象的处理,以“风扫残云”的方式来虚化具象的轮廓边缘,表现人物在空间中的速度感与朦胧感,从而改变了西方具象绘画人物与背景的分离,使之在不完整的形象描绘中却获得了风景画所具有的空间整体性。
  刘秀鸣作品中的色彩具有透明的特征,在她的风景画中,这种技法很好地表现了大气的清澈与空间的透明,使自然物象在镜像的重叠和组合之中产生了超现实的梦幻意味。运用这种透明技法,画家获得了对于画面空间的自由结构,这有助于画中的人物穿行在不同的风景之中,达到多重空间的错位、解构与重组。
 

《美术研究》 副主编 殷双喜 2011
 

Liu Xiuming’s figure paintings showcase her unique form of wisdom and display her understanding of modern people and life as well as the spatial environment, leading her audience through an exciting world of images venturing through the space of artistic history. Take Karl for example. In this picture, she puts a friend in a space of abstract color, making the relationship between tone and shading vague with quick and gentle technique to meld the figure into air, achieving visual stimulation. Similar to British painter Sir Francis Bacon, Liu Xiuming emphasizes the image of individual imagination. She also stresses expressing herself with free yet organic usage of painting materials. In terms of the outline of the portrait, Liu uses traditional Chinese ink and wash for reference, blurring the edge line to best present the speed of movement and dimness of moonlight. This style of painting has changed the Western portrait tradition of separating of the image and background, achieving a universality of space, which is more common in landscapes.
The color of her paintings is crystal and transparent, another characteristic of landscapes, to best depict the limpidity of air and the diaphaneity of space. The free usage of crystal colors complements the technique of traditional Chinese realism using multi-layered coloring, a good touch of super-realistic dreams after overlapping and assembling natural objects. This technique has offered Liu space to free-structure her figures crossing varying scenery through dislocation, deconstruction, and reorganization in multiple spaces.
 

《Art Research》 deputy editor Yin Shuangxi 2011

 


 

 

    在画家刘秀鸣色彩与线条的交响之中,我们看到了她的惊怵,她的礼赞,她的惶惑,她的悲悯和迷乱…… 她在呼唤人们膜拜大自然敬畏大自然的同时,何尝不在提醒人们要一样地膜拜生命、崇仰生命、尊重生命!
 

美籍华人作家 李硕儒 2008


In Liu Xiuming’s symphony of colour and line, we can see her praise, apprehensiveness, compassion and confusion. At the same time she appeals to people to prostrate before nature and be in awe for nature and reminds people to admire and respect life.

 


 

   刘秀鸣多年旅居海外,维也纳为她艺术的绵想与静思提供了另一种空间,空间和语境的叠换,使她的静谧、优雅以及从容不迫在中国当代显得与众不同,在“天人合一”这种哲思的支撑下,画家能够心无旁骛地开拓自己的艺术道路,以心象的浪漫探寻天象的变幻无羁,不仅构筑出一个属于自己的艺术宇宙,还为架上风景绘画在中国当代的发展提供了更多可以借鉴的可能性。我想,刘秀鸣的艺术不仅仅属于中国,同时也属于世界。

 
中国美术馆馆长 范迪安 2007


Liu Xiuming studied art in the West. Vienna, a city rich in poetic, musical and artistic heritages, nourished her romantic temperament and encouraged her ideal of creating exquisite art. Her earlier immersion in the traditional Chinese painting gave her solid understanding of “emptiness” or “nothingness”, important concepts in traditional Chinese art, allowing her to combine such concepts with abstract expressions of the modern Western painting. One could say that she uses Western techniques to express a traditional Chinese worldview that “man and nature are one.” Such sentiment is rare nowadays in our high-tech society where Internet, cars and other modern facilities provide convenience but at the same time separate us from nature further and further. Long periods of sojourn abroad offer the artist another
kind of space for her artistic contemplation and meditation. The continuous shift of space and context facilitates her exquisite style of quiet assurance and elegance, and distinguishes her from her peers in the contemporary Chinese art world. With “harmony of man and nature” as her philosophical underpinnings, Liu has been concentrating on her own artistic exploration of the changeable nature and the romantic soul. The unique artistic universe she has constructed provides useful possibilities and references for the development of the landscape painting in contemporary China. In my opinion, Liu’s art belongs not only to China, but also to the world.


Director National Art Museum China, Fan Di’ An

 


  

 

  另一种空间,对刘秀鸣而言,不仅是二维平面中营构的另一种超越自然视阈的心象世界,而且是她的绘画在当代艺术中获得“当代性”的另一种艺术创造。因此,影像、装置、观念所超越的技艺性,赋予了当代艺术以新的价值规则与审美方式,而刘秀鸣的架上绘画恰恰在这另一种空间中获取了当代性的转换。没有人像她那样把油画画得那么透明和纯粹。那饱满的、纯净的色彩,在经过处理之后成为刘秀鸣非常具有个人特质的绘画语言,与此同时,也凸显了色彩的纯度在视觉表达中的重要价值。这种超纯度的色彩为她的画面营构了虚幻、缥缈而神秘的心象空间,从而于现实外象走入了心灵与心理的另一种世界。其实,她的细腻、透明与纯净的画面,也无不具有当代艺术语言的图像性。不论《云》、《新风景》系列,还是《新的地平线》与《另一种空间》系列,都不在于油画形象的塑造性,而在于整体图像从自然视阈中蝶变出来的虚拟性。它既具有图像在当代社会中的视觉消费性特征,也体现了当代文化现实的某种隐寓与暗示。或许,她对于风格的追求,对于天体极光似的纯蓝与纯红的偏爱,都无一例外地披露了她的某种生命体验与女性意识。这种对于云与月的蓝调和霞与日的血色的难以言尽的追述,也都无一例外地揭示了她个体生命的某种情感痕迹与精神踪影。这是她走出风景而具有当代性话语的重要方式。
 

《美术》杂志主编 尚 辉 2007

 
Another kind of space, for Liu Xiuming, represents not only an imaginary space beyond natural landscape created in the two-dimensional plane, but also her creative method to accord to her painting the “contemporary spirit”. While photography, video, installation and conceptual art that transcend workmanship brought new values and aesthetics to the contemporary art, Liu Xiuming’s paintings have been able to achieve their contemporary quality through this other kind of space.
Her paintings are extraordinarily transparent and pure, rare qualities in oil paintings. The robust yet limpid colors became her signature style, full of individual characters. The colors of high purity are critical elements in her visual expressions, creating an ethereal and mysterious spiritual space through which the real enters into the world of soul and imagination.
With characteristically transparent and pure canvases of subtle gradations in color, her series such as “Clouds”, “New Landscape”, “New Horizon” and “Another Space” aim at creating new worlds inspired by and transformed from natural landscape rather than producing recognizable forms. Their images share the characteristics of visual consumption in contemporary society, but at the same time provide hints and metaphors for contemporary cultural reality.
Her pursuit of unique style and obvious predilection for aurora-like blue and crimson probably reveals a certain kind of female consciousness and life experiences on her part. The ineffable expression of her blue clouds and bloody sky suggests the traces of her emotions and spiritual journey. This is an important way in which she enters into contemporary discourse away from the landscape.
 

Ph.D., Editor-in-Chief of Fine Art, Shang Hui
 

 


 

 

  刘秀鸣的绘画作品透露出一种独特的心灵感召力。她的绘画感觉与眼前的现实世界极少关联,而是在寻找着那些超越个人经验与感受 ,同时又不失为人类共同感受的原本形态。西方与东方的不同艺术理念在这里交融。
 

『奥』克劳迪亚•劳赫•劳丽什(译)强朝晖

 
Liu Xiuming’s painting reveals a kind of special spiritual inspiration. The feeling in her painting has few connections with the realistic world at the moment, but is searching for those things that surpass personal experiences and feelings, but which at the same time are still considered the original form of mankind's mutual feeling. The different concepts of Eastern and Western art are blended here.
 

Dr. Claudia Rochel Laulich

 

 


 

  刘秀鸣在绘画中运用分割的形式和不同空间的重组、并置使画面更具有一种超现实的意趣,在自然空间中蓦然出现的人为空间,既让人感到陌生,又让人感到惊讶和振奋,屏障式的分隔让观者恍如置入一座巨大的建筑空间的感觉,但又分明是在自然之中,画家在空间的自由调度中使作品具有了更强的形式意味和更大的空间张力。

 
艺术批评家 贾方舟 2006

 
With her methods of cutting and separating she put natural spaces together again and replaces ordinary uniform spaces with multilayered spaces. The reassembling of different spaces gives her paintings a surrealistic aesthetic appeal. The unexpected appearance of spaces for humans among natural spaces seems strange, exciting and surprising for us. The viewers seem to be in a giant space, yet clearly within nature. By this free regulation of spaces, the paintings gain even stronger formal importance and greater spatial tension.
 

Art Critic Jia Fangzhou 2006

 


 

 

  刘秀鸣的绘画在当代艺术的场景里是一种例外,也正因此展现了她的鲜明特点。其绘画之所以属一种例外,是因为她不轻易去附和流行趋势与时尚。她的作品在融入时代精神时并不追求出风头、哗众取宠、隐含讥讽或暗伏嘲弄,也并不采用怪异或夸张之类的手法。她的创作之所以能令人瞩目,也恰恰要归因于其独特的时代风格和行为方式。
 

艺术史学家 [德]W. 舒里安 2005


Liu Xiu Ming’s paintings can and want to be read in such a way as to be observed and scanned for legible symbols in their colour conglomerates and inner constructs, as well as in their interrelated enclosures of relevant structures, supports and manifest constructions. They are appropriate objects inviting a permanent search for the other. In this way these drifting images, at first glance so easy and uncomplicated, reveal little by little their other additional, internal subsystems of symbols and meanings.


Art Historian Walter Schurian 2005

 

 


 

  在解读刘秀鸣的作品的时候,不能不提到她的中国背景以及海外旅居的经历。不能否认的是,曾经接受过的中国画教育是那样深刻地影响过她,甚至到现在为止,这种影响还不时地出现在画面中,但是这已经不仅仅是一个“中国符号”,而是中国人的思维、哲学体系,因为更接近思想的层面而显得更为隐蔽。因此不能以简单的“中国特色”或者“西方特色”去评价刘秀鸣的作品,她的智慧与勤奋正将画家引入一个更加接近真实的艺术的境界,在这个领域里,她的画笔挥洒自如,既然无法控制真实的自然,那就更好地描绘自己心中的自然。

  那一片片沉寂的蓝,燃烧的红,神秘、悠远,沉淀在内心的激情成为一股股暗涌,变幻出不断变换的风景。我们有理由期待刘秀鸣展示出更为精彩、博大的自然。
 

王雪芹2005


When analyzing Liu Xiuming’s works her Chinese origin and her experiences abroad have to be taken into account. It cannot be denied that her education in Chinese painting profoundly influenced her and influences her up to today, as can be seen in her pictures. This is not only a “Chinese trademark” but it represents the system of thought and philosophy of a Chinese. One cannot simply label Liu Xiuming’s works with “Chinese character” or “Western character”. Her wisdom and diligence take her to a world of art very close to a world of truth where she uses her brushes freely. Since one cannot control the nature around us it is better to depict the nature in your heart.
The calm blue, the burning red, the vast and secret passion burning in her heart create many flows which change their appearance continuously. I believe it is right to expect that Liu Xiuming will exhibit a greater and even more miraculous world in the future.


Wang Xueqin 2005