时间总是在召唤艺术，但时间又总是会摧毁艺术，时间就成为艺术亲密的敌人，当代艺术进入虚拟空间不过是对时间的逃避，艺术从何处获得时间的馈赠？并把时间作为礼物充分地接纳，而让时间成为作品的主宰呢？这是回到自然自身的枯竭与残剩状态。

自然，不再是饱满的自然，因为自然也经历了时间持久的消耗，而一旦一个艺术家主动把时间的痕迹彻底暴露出来，似乎那是自然的底色，是时间自身的工作，艺术家仅仅就是为自然进行一次体面的葬礼与哀悼，这并非人类自我的自恋，而是对于自然最后面容的呵护，保护其最后的面容，甚至为其谱写一首首挽歌，艺术家不得不给出自己个体化的哀悼仪式，但这又是一次庄严又缄默的祭奠，自然第一次得到了如此隐秘的尊重。

但这一次的哀悼，充满了独特的音乐仪式，舞蹈与歌唱，伴随细丝般准确细腻的旋律，得以自然的魂魄复活，这是魂魄，是具有中国文化独特灵魂感知的魂魄，艺术乃是聚集那魂飞魄散之际却又萦绕不散的余韵，是一灵咬住的牵挂与虔诚，这是对于残剩之物的热爱与眷念，如此低微却又如此隽永。

自然就在一双关爱的手上，再一次展现出自己的辉煌，尽管这是余影的灿烂，还是残影的低吟，但自然的余音在花祭的虔诚中，那最为内在的声音，第一次被唤醒，而一旦你倾听到，看到她们的姿影，你就再也不会忘记。

这就是艺术家与音乐家石梅，这些年所孜孜以求的艺术形式，在日本幽居多年期间对于侘寂与物派艺术的体察，尤其是对于古老染织艺术的着迷，还有对于中国综合材料绘画持久的关注与参与，而石梅自身又有着深厚的音乐修养。一旦她开始做当代艺术，就如此与众不同，而别开生面，她单单只是钟情于自然的残痕，尤其是那些细碎的低微之物，比如，植物，纤维，丝线，绳子，麻布，纸浆，竹排，以及枯干的花朵，锈铁丝，尤其是被时间腐蚀过的金属蚀丝。但艺术家要用一双“音乐的手”，把看起来就是那一团乱麻之物，就是已经被废弃的植物残骸，甚至如同中古的衣衫，或是被遗弃的铁袈裟与百衲衣，或出土的古老纸页，而以丝丝缕缕的余音，以及混杂又深沉的色调，加以重新的编制！

石梅发明了自己的手艺，或者说自己的染织与编制技艺，那是久已失传的隐秘手艺，似乎在日本某个古镇的老派作坊，在中国边陲某个村落的古法工坊，还残留的古老心法，这其实是不可学的，需要你持久的准备，耗尽心力去收集那些几乎快要被时间彻底风化，被岁月遗忘乃至于抛弃的“碎片”，艺术家要用自己的方式去重新“缝合”她们。这就要求艺术家发明自己的缝补手法，需要艺术家赋予其复活的内在力量与曾经的辉煌，但又不可能还原其本来面目，因为她们已经被岁月击碎了，她们就处于最后的末世状态，但又不是所谓的垃圾时间，而是有待于进入最后的灵魂歌咏，她们的魂魄要被辉煌地召唤出来。

这是石梅所赋予的“音乐性”，是她独有的“音乐之手”的转化方式：把“材质”的肌理感与混杂状态，经过“丝线”的缝合之后，保留其无调性的“余影”散乱，但却又触发“色调”的旋律，但仅仅是一种余音的“回声”，这是一团“乱麻”混杂状态中却又不绝“如缕”的歌咏。如同回应久远的《和歌》，材质的散乱风姿还在等待一双钟爱之手的抚摸，并且在微风中吹拂出轻纱缈缈的余韵。

此艺术的音乐之手也是生命的“缝合之手”，乃是以铁丝，以纤维的隐线，在矿物与植物染料的反复染织后，让自然获得另一种容颜，它保留了岁月的苍凉但却又焕发出从未有过的美丽！

这是另一种的锦灰堆，另一种的贫穷艺术，另一种的极简主义，但却有着低微自然主义的丰富性，这是罕见的逆觉丰函。音乐的展开形式有着内在与外在的双重展现：外在形式上，比如屏风、悬垂与铁架；内在形式上，丝线在重复中的节奏婉转折叠，以及柔脆中的坚硬，色调的老旧暗哑却又血脉涌动，单色中有着自然的混杂沉淀；如此的悖论张力，充分体现出残灰余影中所充满的锦绣灿烂。

如此的艺术作品，既要让人看到光鲜背后不为人知的艰辛与痛苦，也要让人感受到挣扎与创伤之后的自我修复。此缝合的艺术，也就成为了“修复的艺术”，综合材料艺术的哲学意味在于，让自然来为，让时间来为，显露其峥嵘的力量，但同时却又导向“生命的疗愈”，这也是在刺痛中的疗伤，那些尖角的铁丝，那些永远无法平整的琐碎，那些破碎的陶土，如同永远无法被完整回忆的童年，但在艺术家收拾与整合这些破碎残剩之物时，她们获得了存在的尊严。就如同艺术家自己所给出的命名：《异质熔融后的姿态》，它们并非自然既有之物，而是艺术家自己编织各种异质材料的融合，而重新生成出来的生命形态。

中国式锦灰堆的艺术，也是中国当代几位重要艺术家共有的感知，比如梁绍基的蚕丝艺术，胡伟的书卷艺术，一直就是面对文化传统价值瓦解之后，既非抱残守缺，也非虚无冒进，而是在接纳当代观念的同时，肯定自身的残碎，如同徐冰《背后的故事》所袒露出来的二元悖论，但却要在残碎中重建灿烂，这又是平淡与漠然中的灿烂，并没有高贵卑贱与古今中西的区分，因为这些艺术品都是被时间染就的剩余生命，艺术品获得了生命的温度。

但只有一双艺术的手，才可能重新赋予其柔婉深情的尘世面容，只有一双音乐之手，才可能带来如此深沉悠远的缠绵之歌。

部分作品图片：

羽中曲 / Song of Feathers / 2023

中古蓑衣 多种金属丝 绳线 麻 铁架 Medieval raincoat | Multiple types of metal wires | cord | Hemp fiber | Iron frame

舞舞舞 / Dance Dance Dance / 2023

贵州土纸 纤维 矿植物染料 亚克力板 Guizhou soil paper | fibre | Mineral plant dyes | Acrylic board

和歌 / Harmony Poem / 2023

丝网 中古衣衫 书写纸 植物染料 Silk screen | Vintage clothing | Writing paper | Plant dyes

花祭 / Flower Festival / 2024

纸纤维 矿物、植物染料 木 干花 Paper fiber | Mineral plant dyes | wood | Dried flowers

ABA' / ABA' / 2023

贵州土纸 植物染料 亚克力板 Guizhou soil paper | Plant dyes | Acrylic board

归去来兮 / Retarning / 2024

纸 纸浆 植物染料 纤维 丝线 绳 铁 Paper | Pulp | Plant dyes | Fibre | Silk thread | Rope | Iron

类童年情景 / Childhood Scenes / 2023

陶土 纸 麻布 Pottery clay | Paper | Hemp cloth

异质熔融后的姿态 / The Posture After Heterogeneous Fusion / 2023

陶土 金属丝网 麻布 Pottery clay | Metal wire mesh | Hemp cloth

行者 / Walkers / 2024

竹排 丝麻织物 金属蚀丝 植物染料 Bamboo chops | Silk and linen fabric | Metal etching wire | Plant dyes

疾走 / Scoot / 2021

综合材料 矿物植物染料 Comprehensive materials | Mineral and vegetable dyes

开合之间 / Something between the Opening and Closeing / 2021

丝麻织物 丝线 木 铁 矿物、植物染料 Silk and linen fabrics | Silk thread | Wood | Iron | Mineral vegetable dye.

简历

​石梅

毕业于解放军艺术学院音乐系，曾任总政歌舞团演奏员、北京教育学院音乐系教师。

作品《韵》参加 2015 年第七届国际时装艺术展。《佳人有约》参加 2016 年第八届国际时装艺术展。《和远古有个约会》 参加 2018 年第九届国际时装艺术展。《心灵赋格》参加 2018 年“从洛桑到北京”第十届国际纤维艺术双年展。《空无·虚有》 参加“千年对话— 2019 时装艺术国际特邀展”。《岁月留痕》参加“新世界，新视界— 2020 时装艺术线上国际展”。《驶 向远方》参加“从洛桑到北京”第十一届国际纤维艺术双年展— “共生共存”线上展。《侘寂》参加 2021 年“唯物思维”中国— 乌拉圭当代材料艺术交流展(线上展)。《侘寂》《驶向远方》2021 年发表于艺术刊物— 《中国“她”艺术》。《牧神午后》 参加“虚实之间— 2022 时装艺术国际展”。《一刀流 No.2》参加“唯物思维” 2023 年首届国际当代材料艺术双年展。《开 合之间》参加 2023 年当代中国水墨大展 “心魂书写”。《舞舞舞》参加 2023 年“从‘徐悲鸿的贵州土纸’开始——中国美术 新体验作品展”。《羽中曲》受邀参加“2023 濮院时装艺术国际先锋展”。《花祭》受邀参加多彩·2024 第八届全国女画家作 品展。

Shi Mei

Graduated from the Music Department of the PLA Art Institute, served as a nember of the General Administration song and Dance Troupe, Music Teacher of Beijing Institute of Education‌. Works "Rhythm" took part in the 7th edition International Fashion Art Exhibition 2015.

Works "An Appointment of a Beauty" took part in the 8th edition International Fashion Art Exhibition 2016. Works "Have an appointment with ancient times" took part in the 9th edition International Fashion Art Exhibition 2018.

Works "Psychic Fugue" took part in the 10th From Lausanne to Beijing International Fiber Art Biennale Exhibition 2018. Works "Emptiness and Necessity" took part in the Millennium dialogue edition International Fashion Art Exhibition 2019.

Works "Marks of Time" took part in the new world, new vision - fashion art online international exhibition 2020. Works "Sailing towards the Distance" took part in the "symbiosis and coexistence" - the 11th International Fiber Art Biennale "from Lausanne to Beijing".

Works "Wabi - Sabi" took part in the "materialistic thinking" China Uruguay contemporary material art exchange exhibition (online exhibition) in 2021. Works "Wabi - Sabi" and "Sailing into the Distance" published in the art publication in 2021 - "chinese 'her'art".

Works "The Afternoon of a Faun" participated in the Reality Beyond Reality - 2021 International Fashion Art Exhibition. Works "Itto-ryu No.2" participated in the "Materialistic Speculation" 2023 the 1st International Contemporary Material Art Biennale.

Works "Between Opening and Closing" participated in the 2023 contemporary Chinese Ink Art Exhibition "Psyche Graphics". Works "Dance Dance Dance" participated in the 2023 "Starting from 'Xu Beihong's Guizhou Native Paper' - China New Art Experience Works Exhibition".

Works "Song of Feather" was invited to participate in the "2023 Puyuan International Fashion Art Invitational Exhibition". Works "Flower Fete" was invited to participate in the 2024 8th National Exhibition of Female Painters·Colorful.

Appreciating How a Musician Bridges the Time from Remnants Xia Kejun

Time encourages the birth of art, while art also fades away over time, and time is the intimate enemy of art. Contemporary art finds the virtual space to escape time, heaving no access to win the prize of time, to embrace time as a gift, and to make time dominate artworks. In this sense, art returns to the state of nature itself, exhausted and residual.

Persistent wear of time weakens rich nature. When artists volunteer to present the outright exposure of time traces, their works seem to be the background colors of nature with the time as the creator, and artists merely perform a dignified funeral and mourning for nature. This results from the care for nature’s last visage but not the narcissism of humanity. Artists have to perform individualized mourning rituals, and even craft elegies, one after another. With a memorial ceremony in solemn silence, nature has, for the first time, received such an undercover respect.

This is a unique musical ceremony. Its melody feels like precise and delicate filaments to accompany dance and song, which revives nature’s unique spirit characterized by the perception of Chinese culture. Soulful art contains care and piety for nature, getting its scattering but lingering spirit together. Passion and attachment to the remnants of art are so understated yet so meaningful and enduring.

Nature, with the help of caring hands, once again showcases its brilliance. Only lingering charm and murmur are left though, the echoes of nature, its innermost sound, are awakened for the first time in the reverence of the flower festival. Nature will always stay in your mind provided that you have appreciated its sound and image.

Shi Mei has always been pursuing this ideal artistic form over the years as both an artist and a musician. During her years of seclusion in Japan, Shi Mei observed and understood wabi-sabi and Mono-ha art. In addition, antique dyeing and weaving art particularly fascinates her, and Chinese mixed media painting has been attracting her continuous attention and participation, and Shi Mei is deeply cultivated in music. That’s the reason why her contemporary artworks are quite unusual and characteristic. Shi Mei is simply in love with the traces of nature, especially those minute and humble things, such as plants, fibers, silk threads, strings, linen, pulp, bamboo rafts, dried flowers, and rusty iron wires (in particular with eroded wires over time). With her “musical hand”, Shi Mei as an artist reweaved those mass of tangles with every silk of aftersounds and mixed and dark colors, including deserted plant remains, clothes maybe of medieval times, monk’s iron kasaya and patchwork robes, and unearthed old pages.

Shi Mei invented her own craft, namely her own dyeing and weaving techniques, which are long-lost secret craftsmanship. Some ancient mental methods might be left in an old-fashioned workshop in either an old town in Japan or a border village of China. These skills are not available unless you have made sustained preparations and fully devote yourself to collecting “fragments” that are almost completely weathered, forgotten, and even abandoned as time passes by. Artists are required to "sew debris” in their own way and invent their own sewing techniques. Artists should endow “fragments” with their former glory, as well as the inner strength to revive them. However, their original looks are never restored, which has been shattered through time. These “pieces” are in the state of the eschaton, in which, instead of useless, their spirits are prepared for the final soul singing and are to be summoned up brilliantly.

This is the "musicality" given by Shi Mei, her transformation method of unique "musical hand": the texture and mixed state of the "material" are stitched together with "silk thread" first; then keep the "afterimage" of atonality, and trigger the melody of "color". An "echo" of lingering sound exists there, which lingers on faintly in a “tangled” state. Like responses to an agelong Waka, the scattered material continues to wait for the touch of a pair of loving hands, and displays the lingering charm covering half fine gauze in the breeze.

The musical hands of this art are also the "sewing hands" of life. Thanks to these “hands”, iron wires and fiber's hidden threads are repeatedly weaved and dyed with both mineral and plant dyestuffs, which makes nature obtain another appearance. This look retains the desolation of the days but its unprecedented beauty sparkles!

This art not only shares the characteristics of Jinhuidui (a Chinese art form), arte povera, and minimalism, but also involves the richness of understated naturalism, which shows a rare feeling, reverse but rich. The unfolding form of music has both internal and external presentations. As to external form, objects such as screens, overhangs, and iron racks are set. For internal form, the silk threads’ repetitive folds present a “fair-sounding rhythm”; fragility and hardness coexist; the tone is old and dull with a vitality surging; the monochrome exhibits nature’s mixed sediment. Such paradoxical tension fully reflects the great beauty and brilliance of the residual ash and afterimage.

While presenting its unknown hardships and pain behind the scenes, such artistic works could enable visitors to feel the self-healing of struggle and trauma. Hence, this sewing art is in fact the "art of healing". Mixed-media arts hold their philosophy meaning: nature and time should be the creators, revealing their extraordinary strength and at the same time work as guides to “the healing of life”. This healing takes effect with a tingly sensation: sharp-angled wires, trifles that can never be smooth, and broken clays, all of which can equate to a childhood that can never be fully recalled. However, these fragmentized remnants attain the dignity of existence. According to the name of “The Fusion Posture of the Heterogeneous” given by artist Shi Mei, her works are not natural beings but come from the artist’s weaving efforts to merge different heterogeneous media and create a life form anew.

The art style of Chinese Jinhuidui has been perceived and shared by important contemporary Chinese artists. For instance, Liang Shaoji's silk art and Hu Wei's book art face the collapse of traditional values and acquire contemporary concepts to recognize the fragmentation, neither fogyish and inflexible nor nihilistic and reckless. This style is similar to the dualistic paradox presented in Xu Bing's The Story Behind, where plain and indifferent brilliance should be rebuilt in the debris, without the distinction between noble and humble, ancient and modern, Chinese and Western. These artworks are the remaining life dyed by time and have gained the warmth of life.

Nothing but artistic hands can endow a gentle and soulful earthly face afresh, and only Shi Mei’s musical hands can compose such a deep and distant melodious “lingering song”.