中国人对于环境与自身的关系是内外全盘融合的，内心的情绪和外在可见的环境变化密不可分。时间和空间也不是绝对二分的——时间的变化，随空间内事物的变化而显现。于是，时间、空间与人，三者结合为息息相关的整体。

Chinese people's understanding of the relationship between the natural environment and themselves is a comprehensive integration of internal and external factors, The inner emotions are inseparable from the visible changes in the external environment. Time and space are not absolutely binary eithe. The changes in time manifest with the changes in things in space. So, time, space, and people are combined into a related whole.

“象非相”，源自偈语“相非相”所指涉的关于认知宇宙万物的无常与虚幻性的一种社会学想象。相对于无限大的宇宙，我们对客观世界的认知虽微不足道，但在“象”所呈现出的外在形质，与“相”中所强调的内在本质之间，才建构出“我”之所在。当代艺术家们便是在对“我”的塑造与诠释中，创作出了各自心中饱含热忱的审美意象。

"FORMS FROM FORMLESSNESS" originates from the Buddhist verse. It refers to a sociological imagination about the impermanence and illusory nature of all things in the cognitive universe. Compared to the infinite universe, our understanding of the objective world may be insignificant. But it is only between the external form presented by the phenomenon and the internal essence emphasized in the truth that the existence of the self is constructed. Contemporary artists have created their own passionate aesthetic images in shaping and interpreting "self".

创作都与自己的经验有关，那些激荡着热烈、苦闷、激昂、孤寂的情感，都渗透在了作品中。当TA们将内化后流淌出来的意识，最终凝结成世间独有的艺术型质时，尤如历经一场精神沐浴一般，完成了关于“我”的一次意味深长的生命展演。TA们面对自己的作品时，亦会惶惑，那个集合了时间符码的“不明之相”，竟能折叠时空，连缀起当下的生命体验，成为某种自我镜像，不断照见和鼓舞着其创作的演进。

Creation is all related to one's own experience. Those emotions that are passionate, depressed, passionate, and lonely permeate the artwork. When they condense the consciousness flowing out of their hearts into unique works of art in the world, as if undergoing a spiritual baptism, they have completed a meaningful exploration of themself. When facing their own works, they may also feel confused. The "FORMLESSNESS" that gathers time symbols can fold time and space, connecting the current life experience. Becoming a kind of self reflection, constantly illuminating and inspiring the evolution of their creations.

对观者来说，在直面这些“不明之相”时，也瞬时开启了一场隐性的时间之旅。经由观看艺术家的“象”，体认艺术表达中丰富意涵的同时，观者也为自己营造出一个理想的眺望过去的“时间性视野”，在这个视野中，过去仍然存在于当下。正因此，它唤醒了观者的记忆，在各自经验中，重组着遵循自我认知的“相”。

For viewers, facing these "FORMLESSNESS" instantly opens up a hidden journey of time. By observing the artist's “FORMS”, one can appreciate the rich connotations in artistic expression, Viewers also create an ideal temporal perspective for themselves, in which the past still exists in the present. Therefore, it awakens the viewer's memory, recombining the "FORMS" that follows self-awareness in their respective experiences.

“象非相”，若能震颤不同的心房，抵达各自的心灵彼岸，或许也是“我”之所在，最有意义的时刻...

"FORMS FROM FORMLESSNESS". if one can tremble different hearts and reach their respective spiritual shores, it may also be the most meaningful moment where "self" is located.

文/李牧