白蒂现阶段油画已拥有鲜明风格，面对她的油画，犹如面对她这个人，画如其人，一种迷惘与诗意混和的魅力。迷惘是动态的，诗意则趋于宁静，迷惘与诗意之间的张力，使画面的美富于意味和深度。年轻的白蒂跨界于中西方之间，生活于北京和汉堡，她的油画具有鲜明的个人和女性叙事特征，体现了跨界青春的迷惘与诗意，是地球村一代年轻艺术家真诚精神生活的代表之一。

　　现代“代际”理论和知识社会学的创始人、德国社会学家卡尔？曼海姆提出，在关键成长阶段经历了重大人生事件的可识别群体，他们构成与父辈迥然不同的经验和认知特征，这已是现代社会的现代性表征。在传统社会，子辈的任务是遵循父辈的规则和习惯，生活是习得传统和持续绵延。但现代社会却如此不同，年轻一代的经验和认知正构成现代性经验。这些青春的现代的经验，不仅挑战传统，也是我们今日社会不断向前的时间见证。

回音，2015年

　　白蒂的重要作品《回音》与《空巢》，集中表现了“代际”经验在中国当代生活中的重要存在。《回音》中，手执电话倾听的年轻女子，着装时尚高贵，但画家不表现她的面容，一个空舱一般的房间，回响着她在接到上一代声音时送出的“回音”，这“回音”也许有情也许无情，也许事实上很无奈，她不会让上一辈认同，也不会认同上一辈。断裂的现代性，生活中的片断，却是强大历史演变的一种个人叙事，女性叙事。《空巢》中，双手缝织旧物的老妇，坐在木凳上，身边的饭桌上白色桌布空荡荡，墙上的窗户透出蓝色的夜光，“空巢”冷落有如一种声音在夜里传播，与《回音》构成呼应。年轻女性和年老女性之间的“代际”故事，传统时代靠手红代代相传，现代手机能够打通电话，却永远打不通传统。两幅作品并置，一少女一老妇，她们各在自己的居室，迷惘和诗意，也许就是面对生命不可挽回、时间不可逆转、对话难以产生回音，所领悟的现代艺术内涵。跨界在这种对比中，体现出白蒂对于自身一代经验断裂的反思。跨界，便也成为这一代艺术表达需要具备的能力。也即是说，代际经验需要跨界领悟，这也正如中西方经验，男女性别经验，跨界，实际上成为白蒂这一代青春所遭遇的现代性经验。

空巢，2015年

　　出生于八十年代的白蒂，经历了中国社会重大历史变迁，是中国改革开放的受惠一代。这一代在物质上迥然不同于父辈的贫穷艰困，繁荣的物质令他们享受精细生活体验；这一代在精神上也完全不同于父辈的封闭扭曲，网络和旅行使他们拥有开阔视野。行走于亚洲和欧洲之间的白蒂，无疑更是这一代人中物质之美的领略者，精神开放的体验者。作为职业艺术家，她不仅体验中西跨界的生活，而且也体验作为女性跨越性别束缚的自由。后者是很多女性终生奋斗的目标。潜心于艺术探索，不为日常生活琐事拖累，白蒂跨界的青春，呈现了卡尔？曼海姆所说，用知识建构身份的自由。作为艺术家，白蒂在这份自由身份的建构中，敏感地抓取了个人与时代契合对接的迷惘与诗意。迷惘是物质繁荣一代体验与父辈传统断裂所呈现的精神表征，诗意则是对迷惘的理性塑造，后者需要为跨界提供思考弥合，需要一种代际担当的自觉。白蒂用她的艺术作品探索了这种可能。

窗前，2013年

　　在较早的作品如《女孩》、《窗前》和自画像《别来春半》中，白蒂更重视物质比重的描绘，表达这一代人在物质环绕中的精神状态，或轻懒、或迷失、或享受，色彩的轻柔精细体现出物质享受的品位。之后白蒂开始探索精神困境，把物质的色彩推向强烈对比，物质不再是品位体验，而是呈现精神刺激效果，如《欲火》、《奈何》、《未来》，不安的黄色和如血的红色，撕裂了物质的平静外表，人物甚至是大脑的缺席，使画面呈现残缺无助的精神症候。不过，从物质享受到反思物质制造的精神困境，白蒂并没有花太多时间。作为21世纪的叙事，白蒂的作品一方面是个人的和女性的，另方面始终是代际经验的表达。所谓现阶段的白蒂油画，是一个她探索的过程，她自身成长的见证，也是指向开放的未来。如何用她的跨界经验生产艺术作品，取决于她不断获取自由的需要。自由于艺术家而言，并非仅指跨越世俗的规范，更在于自我建构的指向。《旧事》和《逝去的记忆》都是对白色的大胆创新，前者用白色搭建房屋，后者用白色讲述两个人的恋情，前者是方形结构，后者是圆体造型。白色作为纯粹的记忆物质，是白蒂对物质全新认知的表达。白蒂一直在探索中成长，这种成长或许就发生在两幅作品的创造过程，在此过程，艺术令她不断发现自我和享受建构自我的自由。放在创造的序列中看白蒂，她穿越所在物质环绕的青春，她在思考迷惘的过程，也是获取诗意的过程。

征途，2016年

　　最新的《征途》令我震撼。物质的人类全体白色象征，他们行走在黄色的地球上，或者是金色的火星上，他们是自己的医生？还是星球的拯救者？他们在等待谁的到来？他们在倾听谁的召唤？他们紧裹的长袍里装满怎样的恐慌？是的，他们有七位，是不是上帝制造的每一个日子？如今并不知道何处何从？他们象征了这个世纪的迷惘？白蒂始终不喜欢勾勒人的正面，背面的故事却被她叙述得如此丰富精彩。这里面又似乎有女性天生的智慧，她们对无言的历史有自己深刻的洞见。《征途》对迷惘的高度概括，是画家理性思考的诗意描绘。

　　人类追求物质的历史漫长寂寞，为此付出的代价难以言表。现代以来物质空前繁荣，人类却步入精神的迷惘。见证迷惘的一代，描绘诗意的可能，新生代艺术家，特别是女性艺术家，前程无限。白蒂的下一阶段，必然有更多精彩。

荒林（澳门科技大学教授）

Crossing the Line between Bewilderment and Poetry——The Implications Behind Bai Di's Recent Oil Paintings

　　Bai Di's most recent oil paintings possess a distinct style. Examining these paintings is almost like examining the artist herself. Just like Bai Di, these pieces exude a charisma that mixes bewilderment with poetry alike. The bewilderment in her works is dynamic, but their poetic nature tends towards serenity. The tension between this bewilderment and poetry imbues her canvases with implications and depth. In her youth, Bai Di crossed East and West, living in Beijing and Hamburg. Her oil paintings are characterized by narrative elements that are both individual and feminine, reflecting the bewilderment and poetry of a youth spent between different sides of the world. They are representative of the sincere spiritual life of a young artist from the global village generation.

　　The German sociologist Karl Mannheim, founder of the modern theory of generations and the sociology of knowledge, once suggested that identifiable groups who experience important life events at critical points in their development will form experiential and cognitive traits entirely different from those of their parents' generations. This is an indicator of modernity for modern sociology. Traditional society dictates that the duty of the young generation is to adhere to the older generation's rules and habits. Their lives consist of acquired traditions; they continue an unbroken link. However, modern society differs from this, as the experience and knowledge of the younger generation constitutethe modern experience. These modern experiences of youth not only challenge tradition; they are also chronological proof of the unceasing forward progress of our contemporary society.

　　Bai Di's major works Hui Yin ("Response") and Kong Chao ("Empty Nest")are a concentrated expression of the important existence of the generational experience in contemporary Chinese life. In Response, the young woman holding a telephone is dressed in stylish clothing, but the painter does not show the young woman's face. Listening to the voice of the generation that preceded her, the artist sends out an "response" that echoes ina room of dead space. This response may be emotional, or it may be emotionless. Perhaps it is actually powerless. She will not make the previous generation approve of her, and she will not approve of the previous generation. Fragmented modernity, and the fragments found throughout life, are actually a kind of individualized narration, a feminized narration, of powerful historical changes. In Empty Nest, the aged woman sewing old clothing sits upon a wooden stool. The white cloth spread across the table beside her is empty, and the blue light of the night drifts throughthe window set into the wall. This "empty nest" is desolate, like a voice drifting out into the night; in this way the piece becomes a complement to Response. There is a "generational" story between these younger and older women-the traditions of handicraft and needlework were once passed down from one generation to another; while modern-day telephones are able to make calls, they cannot make contact with tradition. When placed side by side, the two works show a young girl and an older woman, each with their own living spaces, bewildered and poetic. The irretrievability of life, the irreversibility of time, and the difficulty of responding to this conversation-perhaps all of these things are understood in modern art. The boundary-crossing in this contrast reflect Bai Di's reflections on the experiential fractures of her own generation. Boundary-crossing has become a must-have ability for artistic expression in this era. In other words, generational experience requires a realization that crosses boundaries. Just like experience between East and West, as well that across genders, crossing boundaries has actually also become one of the modern experiences encountered by Bai Di's generation through their youth.

　　Having been born during the 1980s, Bai Di has experienced the great historical changes that Chinese society has undergone over that period. She belongs to the generation that benefited from China's modern policies of reform and opening up. Materially, this generation was the polar opposite of their poverty-stricken parents, as material prosperity allowed them to enjoy richer childhoods. Spiritually speaking, this generation also went through something utterly unlike their parents' closed-off, contorted lives; the internet and travel broadened their perspectives. Bai Di, who spent time in both Asia and Europe, is undoubtedly even more appreciative of material beauty than others of her generation. As a professional artist, she has not only experienced a life that straddles East and West, but has also experienced the freedom of a woman who has stepped away from the restraints of gender. The latter of these things is something that many women spend their whole lives striving for. Having devoted herself to artistic exploration and remaining detached from the petty details of daily life, Bai Di, with her boundary-crossing youth, is an example of what Karl Mannheim called the freedom of using knowledge to construct one's identity. As an artist, Bai Di has acutely chosen selections of bewilderment and poetry that are compatible with the individual and the era while constructing her identity. Bewilderment is a spiritual representation of the fragmentation between the material prosperity experienced by her generation and the tradition of their parents' generation. Poetry, on the other hand, is a rational molding of bewilderment; it must provide contemplation and healing for boundary-crossing, and it requires an awareness of generational responsibility. Bai Di uses her art to explore this kind of possibility.

　　In Nü Hai ("Girl"), Chuang Qian ("Before the Window"), and the portrait Bie Lai Chun Ban ("Half a Spring Has Passed in the Moment Since Our Parting"), several of her relatively early works, Bai Di focused more on the portrayal of material proportions, expressing the spiritual states of the people of this generation as they revolved around material objects-sometimes idle, sometimes lost, sometimes enjoying themselves. These people's tastes in their material enjoyment were manifested through gentle, meticulous colors. Later on, as Bai Di began to explore spiritual predicaments, the colors of the material objects in her paintings underwent a a sharp contrast.Material items were no longer sampled or experienced; instead, they were used to achieve spiritual stimulation. Yu Huo ("Flames of Desire"), Nai He ("No Alternative"), and Wei Lai ("Future") are examples of this. Using uneasy shades of yellow and sanguine reds, they tear apart the tranquil appearances of material objects. The people in these paintings even appear mentally absent, bringing undertones of mental illness and disorder to the canvas. Nevertheless, Bai Di did not take long to transition from material enjoyment to contemplating the spiritual predicaments created by material objects. As a narration of the twenty-first century, Bai Di's art is on one hand individual and feminine, and on the other hand it has always been an expression of the generational experience. Bai Di's "recent" works in oil painting are a process of the artist's exploration, evidence of her own growth, and also a future that points towards openness.How she uses her boundary-crossing experience to produce art relies on her need to constantly obtain freedom. To an artist, freedom means more than surmounting worldly norms. More so, it lies in the direction of self-construction.Jiu Shi ("Old Things") and Shiqu De Jiyi ("Lost Memories") both represent bold innovations in her use of white. The former piece uses the color to build a house, and the latter uses it to tell the story of two people's shared love. The former uses a square structure, while the latter's is round. White is a pure material of memory; it is Bai Di's expression of her new understanding of material objects. Bai Di has always grown in the midst of exploration. This kind of growth may very well have occurred during the creation of these two works. During this process, art caused her to continuously discover herself and enjoy the construction of her own freedom. One can see the artist among the sequence of creation. She passes through a childhood and youth that revolves around material objects. For her, contemplating bewilderment is the same as obtaining poetry.

　　Her recent work, Zheng Tu ("Journey"), shook me. Materialistic humanity was symbolized entirely with white. They walked upon a yellow earth, or upon the golden surface of Mars. Are they their own doctors? Or are they the planet's saviors? Whose arrival are they awaiting? Whose call are they listening to? What kind of fear is concealed within the long robes wrapped tightly around them? Yes, there are seven of them-one for each day it took God to create the world? Even now we still do not know where they came from. Do they symbolize the bewilderment of this century? Bai Di has never liked depicting people's front sides; the stories told by their backs are already brilliant enough. Here we can seemingly sense an innate feminine wisdom; these women have their own deep perception of the speechless annals of history. Journey's deep summary of bewilderment is the artist's poetic portrayal of rational contemplation.

　　Humanity's pursuit of material objects has a long and lonely history, and the price is all but indescribable. In this modern age, material goods flourish like never before, but humanity is stepping into spiritual bewilderment. Bearing witness to the bewildered generation and depicting the possibilities of poetry, this newborn generation of artists-and particularly female artists-faces a future without limits. Bai Di's next stage will inevitably be even more brilliant.

Huang Lin（Professor of Macau University of Science and Technology）

作者：荒林