抽象色彩主义的实践围绕着非线条的观点演进，其构图要素中的参数意义来自于色彩的运用，每一种不同的颜色都隐含着一种情绪反应。对最初内在效果的判知，需要一种对光与影、微妙变化与细节动作的敏感。光的饱和度与密集度往往催发更为深切的冥想，同时，抽象色彩主义的观念范围呈现出辩证性的思考，并在这种思考中回归表现主义与印象主义。

　　在于小鱼的作品中，观者可以察觉到色彩的至高地位，以及一位自学者对材料不断探索的平等自觉，而非囿于教条主义与学院体制勒令的驻足不前。当创作需要浓重的手笔时，更为粗犷的力量或作用便随之产生，但同时她又依旧保持着对光线的敏锐，这一技法震惊了那些认为性别决定了笔触是精致还是“有力”的论者。如若我们回头检视对所谓“东方”美学令人混淆的吸纳，其中这一美学及其发展被错认作肇萌于20世纪转向的激进印象主义，那么，艺术史层面质询的支配作用就应予以取缔。这里被认作抽象的东西并非其他，乃是传统二分法下的“真实”与哲学宗旨，这一哲学宗旨认为亟待处理的主题实为事物的本真一面。一种内在的而非现实的姿态复生了传承千年的古老技艺，它独存于中国，既保守又激进。色彩主义的规划在稍后得以增强，吸纳了非东方的谱系，并且回望了源头，那是后期表现主义作品中印象主义的回响，在殖民时代的发轫期遍布江苏三角洲。在随后的创作中，大陆的现代主义传统画者试图用欧洲的调色板给他们苍白、柔淡与灰色口吻的水墨填涂上色彩的活力，这为有关历史演进的古怪评骘以及关乎何为“源头”、何为“影响”的更为颠倒的偏差贻下了口实。

　　直至1930年代，自学者（取其真实字面意义，指那些通过自学吸收了非本土的色彩实验并将作品基调诉诸线条深度的艺术家）的实验创作，鉴于某种稚拙、原始的色彩运用，业已呈现出另类而短暂的表现主义法则，然而，更多保守的学院艺术家陷入了对印象主义与后印象主义怪诞的效仿。正值此时，在欧洲，传统意识让位于激进的“破坏”冲动，反艺术运动将先定的创作要素与纯粹的概念学派撕得粉碎，可中国的绘画风尚依然相对滞后。

　　这一艺术史上实践之嚆矢的伟大之处在于，它简单地指明了对影响的歪曲以及“占有”某物的是西方还是东方的二分法的谬误。当代艺术的话语是以个体方法的形式产生的，在这个领域中每个艺术家的心灵状态与人格表象可以自由地改变、实验，或者，相对少见地，通过原创使得学院主义的条条框框相比之下黯然失色。在后格林伯格时代，处于假设的“与国际同步”实践的概念框架下，绘画本身是可能的/切题的抑或是不可能的/修正主义的这一点备受考辩，个体画者们的声音中更为大胆的表达往往要么表现出他们的价值，要么暴露出潜在的不足。作为一个自学者，于小鱼偶尔也会失手，她的几幅概念抽象作品就外观而言太容易让人回想1920年代欧洲的风格主义者，同时，她创作出的那些古怪且具挑衅性的油画被证明是对“晦暗”地带的探索，看起来它们无法被分门别类并加以哲学的说明。

　　伴随着意图刻画内在状态的声明，她的经验与精神气质同色彩本身的特定强度与聚焦力度产生共振：刀刻的技法、滴渗的技法以及后美国表现主义的其他方法无论如何算不得独特，然而在这些回归光线与自然的作品中存在着一种愉悦的真诚。可以说，这些作品在形式上是即兴的，它们的形式追随着大自然转瞬即逝的不成文法，在沉默中诉说着真实的影响熏染，记忆的永志不忘以及那更为强大的力量——想象。从不可分割的真理中呈现一个可以目击的事件，这总被用来描述晚期的、业已遗憾地消失的大师传统，很少适用于今日晚生的歪曲之作：他们的修正主义几乎毫无潜力可言，精神上空洞荒唐，在某种意义上说，似乎他们急于恢复传统在当代的现代衍生品。在这些急切的闹剧中，极少部分的年轻个体执着于对潜力的真实探索，这一潜力（也许）存在于对将绘画作为一种媒介的当代众多表达方式的选用。在年轻人的文化中，有关新媒体、视觉装置与虚拟现实的更为流行的视觉景观似乎成为主导，而年长者已然起身拒绝当代“外国”影响情有可原的在场。

　　就其本身而言，这些流行甚至风靡着的趋势在范围上显然遗弃了偏于遁世的精神，这种精神抵制着实践上的随波逐流。于小鱼花费大量时间在大自然与远方写生、雕刻，之后，又尝试通过绘画描刻她想象中的内在真实，与此同时避免对周围自然生机进行图解性地再现。这是惨淡经营下的内心行动，艺术家不得不保持着安详的沉思境界，以之达成一种高度紧张的创作状态，从而在她选定的材料与媒介中将内在的印象通过她强有力的实验在视觉上具象化。

　　这与激进的二分法相离甚远，后者盛行将肖像性绘画与象征性绘画归于客观/主观，她却获得了更为诗意的自由，尝试将想象之域同真实之域结合起来，我们也许会说这在本质上是表现主义，然而它们却葆有着古代作品那隽永的统一性的踪影。除却在视觉上显然受惠于欧洲抽象派的融合衍生实验，我们体察到一种抒情的意味，其中混糅着光线、完美地呈现出空寂与忧郁色泽的“天然质胜的魅力”以及经验光谱中的那抹“灰色”。

　　近乎怪诞的创作姿态独具活力，它表现在油墨的高度密集与色彩的饱和，其间少有线条与阴影，传递着一份一丝不苟的趋向，即描绘生活内在界域中自然的、悖谬的真实。这些作品不属于传统的高度唯美主义，此传统通过一种超乎真实认知的肆意夸张将事物的本质表现出来；它实际也不同于1960年代在美国当代领域被神化的抽象表现主义唐突而幼稚的肤浅。看起来，她在某些场合捕捉到了须臾之间的“真实”，但后者时而又离她而去。存在一股随机的表现力时时侵扰着寂然浑然之境，但这股力量并不贸然纠结于当代理由的变迁过程与概念上的与世隔绝。

　　因为年纪尚轻而生疏于千年之久的艺术史进程与永恒的自然真理，这份澄澈状态的吉光片羽，在将自然的外在与内在、想象与视觉融合表达的意图中，标绘出一种在逆境中直面盛行的唯美主义（回归历史的轻率）的真诚意念，同时，它还指明了在多大程度上知识的本质主义与至高地位已经主宰了我们的鉴赏力。一个独自的灵魂，遗世遁隐，伴着自然的任性归来，秀丽而蛮野，携带着从她自身的主体实践与生活经验中创造的调色板……就这些特点而言，相比于学院教育中技法上的自负，也许我们可以说这位艺术家同其自身的创造性动力拥有更为密切的、剪不断理还乱的关系。

　　在一个当代实践作为世俗经验之折射的时代里，这位艺术家的创作带有地域性特点与个人风格。从概念与形式实验的起步阶段脱颖而出不久，她已经成熟地处理起极具原创风格的绘画，这些绘画能够唤起人的情感，使人怀旧思源：这些作品显然意在艰辛地、也许是永恒地探索本己以及未脱自然本真的灵魂。如此，公理与设论都归于沉默，我们拥有的是一份原始的、内生的视觉证词，在色彩与姿态的精致与野蛮中，同时经历世俗与精神、普通与超凡。自然的潜在性与色彩的优先性在精心构制的画面中时而融合，时而交锋，由此而见，对外在/内在状态进行刻画的追求并非他物，考虑到其中不可避免地间杂着寓言性、虚构性或历史性，我们所目击到的也不单单是艺术才能。有意无意地，她避免了形式的、大众的与感官的选择，所存景象仅是对她胸中丘壑的即兴描画，正如她纯真而尽力地刻写生活的重要品质。

　　充溢着象征的蛛丝马迹、被不屑一顾的界限与对生活瞬息万变的管窥蠡测，她的作品揭示了修辞手段并非如世所言传的那般重要，历史本体论的权威也会出现谬误：她催发着瞬息的真理，并且能够在色彩与内心激情的洪流中以猜想的原始力量刺穿时间的织体。这股激情生发于毗邻自然之处，而非靠近理论的地方，浮云、清风与其它从容之物的学说在她的画布上回荡着。伴随着粗犷、纯真与空灵，我们拥有了一位艺术家，她苦耕不辍的画笔证明视觉的回声究其本质乃是来自自然的反响。

　　The operative field of abstract colourism evolves around a non-linear perspective, wherein the sense of parameter within compositional elements is defined by the employment of colour, each distinct hue embedding an emotional response. The sense of primary and visceral impact demands a sensitivity to light and shade, nuance and brush. Saturation of light and density often incur for more profound meditations, while conceptual latitudes of abstract coloursim enact dialectical considerations as to what returns to Expressionism and what, Impressionism.

　　In the artwork of Yu Xiao Yu, one has the sense of primacy of colour, and as an autodidact, an equal sense of continued explorations which are closely engaged with the material rather than a sojourn restricted by the imperatives of didacticism or academia. The more brute force or impact occurs as she remains sensitive to light while working with dense applications of paint, a prowess which might astound those who hold that gender might equate with either delicacy, or an alternative "strength" of brush.

　　The dictates of art-historic query might be withdrawn should we return to the confused incorporation of an aesthetic ascribed as being "oriental" which errantly evolved as the emergent Impressionist radical of the turn of the 20th century. That which was weighed as abstraction was in truth, none other than the "real" of a traditional dichotomy and philosophical dictum which held that the essence of things was the subject at hand. An internal rather than realist gestural which gave life to millennia old techniques, conservative or radical, within China alone. The colourist scheme later developed to embrace a spectrum non-Oriental, with the return of the source, the echo of Impressionism within latter expressionist works, displayed throughout the Jiangsu Delta during the occurrence of the seminal colonial era. The subsequent operation, wherein modernist traditional painters of the mainland, sought to imbue their otherwise pale, pastel and grey toned ink works with a rejuvenation of colours associated with European palettes, allows for a curious comment on historical evolutions and a rather perverse deviation of that of "origin" and that of "influence".

　　By the 1930's, autodidact (in the literal sense of the term, those who had self-educated themselves to embrace experimentation of colours non-indigenous and leitmotif's of a linear depth) experiments had come to create a brief enactment otherwise expressionist,given a certain naif and savage employment of colour, whereas the more conservative academic artist scholar fell into the absurd mimetic of Impressionism and post-Impressionism. As while, in Europe, the sense of convention had given way to radically "destructive" impulses, anti-art movements rending asunder pre-determinant compositional factors and entire conceptual schools, the course of the act of painting within the nation of China remained in relative stasis.

　　The greater part of this art-historic operative preamble is to simply denote the travesty of influence and fallacy of the dichotomy of what is "owned" by either Occident and that of Orient. The discourse of contemporary art occurs as an individual demarche, wherein the psyche and personae of each artist is free to alter, experiment and, rarely, originate creations which makes the confines of academicism pale in return. The bolder expression, within a post-Greenberg era, where painting itself is in contest as being either possible/relevant or impossible/revisionist within what has become the conceptual framework of the supposed "international contemporaneous" practice, of an individual painters' voice has often worked either towards their merit or potential disgrace. As an autodidact, Yu Xiao Yu occasionally falters, with the appearance of several conceptual abstracts works all too reminiscent of the 1920's European mannerists, while accomplishing eccentric and provocative oils which attest to an exploration of the "opaque" fields, which seems dispossessed of narrow categorization and philosophical exponent.

　　With the statement of an intention to depict the internal state, her experiential and spiritual climates resound with a particular intensity and focal strength in colour alone: techniques of etching by knife, bleeding techniques and other tools of post-American Expressionism are by no means unique, yet there exists a delightful sincerity in the artists creations which return to light and nature. It might be said the works are extemporal in form, form following the unwritten transient rule of nature, that which silently defines the impact of the real, the indelible of memory and the greater force, the imaginary. To enact a visual contingency which operates in the indivisible truth might be ascribed to the late and sadly vanished past masters of tradition, and rarely to their neophyte travesties of today: their revisionism is near void of latency, spiritually vacuous and ludicrous, in a manner of speaking, as they aspire to resurrect a modern contemporary derivative of tradition. Amidst this voracious farce, rare few youthful individuals adhere to a more authentic exploration of the potential which lies and might lie in opting for contemporary expressions by way of paint as a medium. The more popular ocular spectacles of new media, video installation and virtual reality appear to predominate for the youth culture, while the elder have arisen to object to the extenuated presence of a "foreign" contemporaneous influence.

　　In itself, these latitudes of orientations popular and populist prove dismissive for the more seclusive spirit who desists either majority in practice. Yu Xiao Yu spends great time in fields of nature and remote areas drawing, etching and later, painting in the attempt to depict the internal of her imaginary real while eschewing illustrative evocations of the surrounding breath of nature. It is a visceral course which is unsparing, and the artist has yet to have secured the sense of serene contemplation for a rather more angst engagement with that which occurs visually with her forceful experiments to concretize that impression internal in her chosen material & medium.

　　This is far from the radical dichotomy of popular iconography and symbolic gestural painting of object/subject, she incurs a more poetical license in her attempts to coalesce the domains imagined and real, we might state expressionist in nature, yet their exists traces of an indelible union which are possessed by antiquity. Apart from the syncretic derivative experiments owing to a visually evident European abstraction, we sense a lyrical quality which absorbs light, the presence of "force amateur" yet skillfully affording the silence of emptiness and employment of sombre hues, the "grey" of the spectrum experiential.

　　The vibrancy of a near absurd gestural act where in extreme density of oils and colour saturation converges with the sparse of line and scarcity of shadow delineates a conscientious orientation to depict the natural and contradictory real of the internal sphere of existence. The works are not belonging to the hyper-aestheticism of tradition which renders all the essence of things in a perverse dilation beyond actual cognitive recognition, nor exactly, the brusque naif superficiality of the Abstract Expressionist's mythologized by the 1960's American contemporary hemisphere. She appears to, on occasion, grasp an interim "truth" which again, at times, escapes her altogether. The sense of a random expressive force which barely trespasses on the silent and indivisible, yet one which does not precariously prey upon the vicissitudes of contemporary justification and conceptual sequester.

　　Being young, inexpert while the course of art-historicism millennia old and the truth of nature timeless, these rare shrapnels of lucidity, in the intention of coalesce expressions of the external and internal merger of nature, imaginary or visual, demarcates a genuine spirit in an adversity to not only predominant aestheticism (to return to the facile of history) yet moreover, acts as a statement upon the extent and degree that essentialism and primacy of knowledge dominate our sensibility. An individual soul, reclusive, returns with the random of nature, beautiful or savage, with a palette impregnate with her own subjective experiments and instance of life…in themselves, if we may equate the artist as being inextricably entwined or defined by their creative impetus, juxtapositions upon our academic, pedagogical and technocratic vanity.

　　In an era wherein the contemporaneous exists as refractions of experiences temporal, the artist acts with the distinction of locality and singularity. Having thus recently emerged from a seminal phase of experimentation in concept and formal aspects, she has matured to the point of executing rather original paintings which prove evocative and reminiscent: in that, the artworks act evidentiary to the arduous and perhaps eternal engagement of the self, the soul with the colossal of nature. Thus, the axiomatic and theoretical is silenced, we have a raw and visceral visual attestant to experiences mundane yet spiritual, common yet exemplary in the exquisite savagery of colour and gesture. The latency of nature and the primacy of colour occasional merge in well reasoned compositions, at times conflict, yet, the quest for depictions of states external/internal may amount to nothing else, otherwise, we would witness a non-artistry given to fabulate, fiction or historical imperative. She has opted, consciously or not, to desist the formal, popular and sensational, there is no spectacle here other than an extemporal account in paint of what remains within he heart, as she naively endeavors to inscribe the momentous quality of life.

　　Traces symbolic, limitations defied, life crudely witnessed as transient, her works attest to the fallacious of the nominal importance of rhetorical device and imperative of historical ontology: she induces ephemeral truths and is able to pierce fabrics of time with a primal force of speculations in torrents of colour and visceral passion. The passion is drawn from the proximate of nature, rather than, proximity of theory, the theoretics of cloud, wind and elements impervious resound within her canvas. Brute, naif or spiritual, we have an artist whose successive brushstrokes prove that a visual echo is, in truth, a response of nature.

R. A. Suri

Xi'an

2016/06/18

作者：Rajath,Suri