和策展人  王檬檬陈墨  管郁达  郑娜所有女艺术家

每一次听见彩色的音乐，我都祈祷神明能够再给我一次机会，品味滑入历史的情绪，在旷野里放声歌唱，温暖记忆黄昏下斑点的感伤，

你是无知的

你是盲目的

你是精细的

你是粗糙的

你孤独

你敏感

你坚强

你脆弱

你就是一根_---狗尾巴草

惊慌失措的握住  流失的信任

没有肌体的 灵魂 悬挂在

木鱼的头顶

黑夜始终黑夜

即使一颗一颗化为石膏的 心

也无法拒绝伤害的复制

你表面平静

内心急速奔驰

刹车失灵的装置

在不足百米的房粱

敲击了一年呼唤

 

 

Ajiana doesn’t notice our arrival since she is totally absorbed in her unfinished painting. “60% of it is done, but this is the toughest period for me, I still don’t know what the painting will be.” She smiles. “ Actually I’ve never done a fully finished work, most of them are maximum 80% complete. I prefer to leave some space for an audience to imagine or guess my original intention in this painting.”

The studio where Ajiana spends most of her time is far away from downtown Chengdu, located at Blue House Art Center, a former shoe factory which is now divided into many spaces used as studios by artists. Ajiana’s is filled with her paintings, surrounded with Kitaro’s music, she curls up into the sofa, sharing the rarely seen sunshine of a February  Chengdu morning. “I love staying here, painting, reading, even just having tea here, this is my whole life.”

As a young girl Ajiana suffered a severe illness which affected her greatly, forcing her to give up sports, and her favourite artistic pursuits of dancing and singing. But she discovered a second life once she started to practice drawing. Memories of that time are obviously still painful, she is coy about the details, but clearly she appreciates how the illness motivated her  pursuit of the life she really wanted—free, healthy and positive. After picking up a paintbrush at 15, when she was taken to a Chengdu art institute, Ajiana became immersed in the fine arts atmosphere and decided to take up painting as a career. She graduated as Master of Arts from Sichuan University and in 2007 arrived at Blue House Art Center to paint fulltime.

Visitors to her studio are often surprised that all characters in her paintings have only one eye. Regularly she will ask the visitor “why do we need two eyes?” The reason is not only for function, but also for balance, however the most profound meaning she wants audience to explore is the need to read the world by heart not visually.

Ajiana once again becomes very emotional when she recalls the charity work she did in 2008 with a young Chengdu girl suffering from leukemia.

“That period is unforgettable for me – it actually it changed me. I was so moved watching her struggle for survival. She never showed any pessimism, and even gave us the faith that she would make it. Her convulsions were really indescribable, but now I know that charity is not simply about giving or receiving-you have to get involved in the circumstance to understand, even to feel their pain. The process is not only that you help others, but about you redeeming your conscience which may have been lost in a complicated society. That memory really affected my painting style - I used to paint negatively and passively, but after that experience I became more optimistic and my work developed more color and sunshine. I hope people can see the hope in my paintings.”

“I tend to forget the past and not plan the future. Most artists are passive, we only put go-aheadism on the canvas, but I think I want to own an Ajiana studio where I can keep trouble from the door, forget all my annoyance, and paint without limitation.”

 

一株幡草在内脏里挣扎了出来,流了绿的眼泪,每夜如此,直指星云,红色的袈裟簇拥一席白色的装束,通道转念的经文,一波又一波