丝丝缕缕，斑斑驳驳，面对这些由老旧残碎的织物麻丝，以及带有腐蚀感的金属铁丝，所编织穿插起来的装置作品，这两组连绵的习语直接就被脱口而出，但又欲说还休。丝丝缕缕，斑斑驳驳，我的舌头不由自主地开始卷动，面对石梅以几十年的心思，以矿植物颜料精心又耐心地染就出来的侘寂色调，我更愿意放弃语句的描述，而是去触摸这些材质，或者去倾听这些残剩之物的喃喃低语。

     Twisted and mottled, these two adjectives were blurted out directly in the face of these installation works, which are woven and interspersed with the fabric of linen threads, old and broken, and corroded metal of iron wires, while, it seems like those two words leave me panting for more. “Twisted and mottled”, my tongue was helpless with rolling. In front of the wabi-sabi tone that Shi Mei has spent several decades dyeing with mineral and plant pigments elaborately and patiently. Instead of words description, I prefer to touch the texture of these works or give ear to the muttering of these remnants.

丝丝缕缕的喃喃低语，欲言又止的欲说还休，要倾听此侘寂之音，当然你就得换一种耳朵，甚至它要求观者割掉你既有的耳朵，而进入麻木式的被动感应中重新生长出新的倾听，这倒不是因为艺术家石梅是地道的音乐专业毕业，而是她有一双会倾听的手，这还来自于她所做的作品，具有一种和声的组合逻辑。

     With muttering twisted around and words being hesitantly lost, you need to change your ears to listen to the sound of wabi-sabi. Visitors are even required to cut off their existing ears and get the hang of numb and passive induction to grow back new listening. Although she has not majored in music, Shi Mei can have her works reach the above-mentioned effects because she has a pair of hands that is equivalent to ears, and she endows her works with the combinatorial logic of harmony.

比如那件名为《行板》的作品，卷动的细铁丝支撑着翻卷起伏的丝麻，被放置在无人的荒野上，在光线的变幻中闪耀不同的折光，枯草的黄色与丝麻的黄色彼此辉映着，和谐还是刺耳？丝丝缕缕，斑斑驳驳，因此这并非现成的习语，而更是某种口吃式的呢呢喃喃，某种甜美又忧愁的梦呓，但也是饱经风霜之后而无所顾忌的叫喊，听起来撕心裂肺但其实婉转悠扬，翻卷褶皱的形态带有小三度或更为复杂的减七和弦的不稳定性，但这是刺耳音调之后要进入的漫长休止，随后的巨大安宁会不期而至地回赠给倾听的眼睛，空茫之后的寂寥，无边无际。这是凝缩了生命行走姿态的音乐形式，是我们无所依附的生命真相，但如此的生命也不惧寒枝，安然而栖。

     Take Shi Mei’s work “Andante” as an example. Fine iron wires roll to shore up the linen threads, curling and undulant, which are placed in the unsettled wilderness. The yellow of weathered grass and that of linen thread appear in a colorful pairing, in a harmonious and harsh way. Twisted and mottled, these two words are not only ready-made idioms, but also more of a stammering murmur, a sweet and sad sleep talking, and unashamed cry after weather-beaten suffering, which sounds like heartbroken but melodious. The rolled-up shape of the wrinkle is of a precarious character that a minor third or more complicated diminished seventh chord usually has. While, lengthy rest comes after the strident tone, in which great peace is given back to the listening eyes, hollow, void, and boundless. This is a music form that condenses the walking posture of life and is the truth of life that we are not attached to anything. Nonetheless, such a life is not afraid of cold boughs and remains in peace.

这些铁丝与麻丝相互穿插而成的作品，或者直立，或者平摊，或者以屏风的方式重组，或者上墙，铁丝与麻丝，对峙或者迎合，分离或者纠缠，两种独立的语汇，如同大提琴与吉他？还是如同大提琴与古琴？抑或都有，考虑到石梅对于日本侘寂艺术的喜爱，古琴的揉搓与长吟，吉他的急切与大提琴的华彩，都会在低音区回响。铁丝与麻丝的对位并不缺乏枯竭之后的余韵，撕裂之后的优雅，决绝之后的回暖，这是被重新编织与染就的悖论感知。

     Those works are made of intersected iron wires and linen threads, some erect, some stretched, some reorganized as a screen, and some on the wall. Iron wires and linen threads stand opposite to confront or cater, to separate or tangle. These pairs of vocabularies to describe Shi Mei’s works are distinct and relative, just like the relations of cello and guitar, or cello and Chinese zither, or both of them. In consideration of Shi Mei’s love for the Japanese art of wabi-sabi, the fiddling and chant of the Guqin, the haste of the guitar, and the gorgeousness of the cello all reverberate in the base area. The counterpart of iron wire and linen thread lacks no lingering charm after depletion, elegance after tearing, and mind change after the decisive move. This is a rewoven and redyed paradoxical perception.

如此你还是不可能给予这些作品一个主词或实体的描述，它们还在生长，还在蔓延，还在外展，这麻丝的阴性与铁丝的阳性在彼此对话，纠缠与撕裂，相依与相离，在坦然又寂然的呼吸中，它们脆弱又坚韧，散开又凝神，它们要求你的爱抚，却又拒绝你的接近。

     Even so, it is still impossible for you to describe these works with a subject or an entity. They are still developing, spreading, and extending. The feminine of linen threads and the masculine of iron wires talk to each other, entangled while torn, and interdependent while separate. With calm and still breath, they are both brittle but tough and distracting but concentrated. They require your tender care but refuse your approach.

喜爱日本侘寂艺术的石梅，以自己学习音乐的修养，要在自己钟爱的丝麻上，浸染自己着迷的颜色，日本文化在寂灭与枯寂的情调中融入极少主义的转化，在死心中焕发生命活力的悖论反转，让日本文化很快进入了现代性的自由表达，但在石梅这里，她选择了更为女性化的材质，走向更为自然化的场景。

     Fond of the Japanese art of wabi-sabi, Shi Mei sets her beloved linen threads in fascinated colors with musicianship. Japanese culture integrates the transformation of minimalism with its tranquil, perishable, dull, and lonely atmosphere, which can regain vitality in the morass of despair.    Such paradoxical reversal soon helps Japanese culture reach the free expression of modernity. However, Shi Mei chose materials showing more feminine traits and created a more natural scene.

丝丝缕缕，斑斑驳驳，选择麻丝与铁丝，既要保持麻丝的柔软，又要赋予其深邃的色调，这些色调要顺从铁丝确立的昏黄与老旧，保持时间的容颜而不加修饰，又把织染的色调暗含其间，好像完全不经意，不加人手，保持其枯淡的面目，但内在的温暖与温情却又内在地激荡，带有《牧神午后》的神秘诗意，音乐的美妙幻象与丝线形态的转化，完美对应。这是我们接近这些作品，甚至去抚摸时，才可能感受到的气息，艺术家还亲自缝补了那些丝麻。

     The choice of linen threads and iron wires, twisted and mottled, should ensure the linen thread’s softness when it is dyed with deep colors. Such colors need to follow the dim and old style of iron wire. In this way, imprints of time remain there without any adornment, and the hues of weaving and dyeing are also present without a trace. Its dry-light look maintains in a seemly causal way and without human intervention. Meanwhile, its inherent mildness and tenderness surge inwardly with the mysterious poetic quality in Shi Mei’s work “The Afternoon of a Faun”, and the wonderful illusion caused by music perfectly corresponds to the form transformation of threads. These feelings can be available only if we approach these works and touch them. Besides, Shi Mei sewed and mended those linen threads.

但那些铁丝，甚至带有箭头，带有刺角的铁丝，又拒绝我们的触摸，正是在此悖论的感知转化中，腐朽化为神奇，苍凉化为秀雅，痉挛化为轻逸，艺术的魅力由此显现出来。尽管丝麻是柔软乃至于柔弱的，但石梅的作品并不缺乏尖锐，她着迷于日本“一刀流”的干脆果敢，但这是漫长苦修才可能获得的准确，看似散淡又平凡的织物，既要体现出灵魂的自由，心绪由此自然而然地流淌，又要在穿梭交织中，只是轻盈无痕地掠过，一切仅仅是惊鸿一瞥的瞬间，只是这瞬间的吹拂，如同日本的诗意表达“言叶”就暗含着宁静吹拂的无言喜悦，但又有着快刀斩乱麻的凝练。

     But those iron wires, some of which even have arrows and horns, reject our touch. It is in the perceptional transformation process of such paradox that decay turns into miracle, desolation elegance, and convulsion lightness, in which the charm of art appears. Even if the linen threads are soft even delicate, Shi Mei’s works contain features of acuity. She is obsessed with the direct, decisive, and bold style of Japanese Itto-rye, and has acquired its accuracy through livelong penance. The seemingly loose and common fabric should not only give expression to the freedom of one’s soul, naturally revealing emotions, but also easily slide over and leave no trace when they are shuttling and interlacing. These effects, on the one hand, can be caught just at an instant glimpse and the sway of this glimpse offer the feeling of peaceful joy after a mild blow, just like “Koto ba”, a Japanese poetic expression; on the other hand, possess the concise property of quick decision.

就在那名为《一刀流》的作品上，一缕缕一丝丝的丝麻，半透明的黄色，似乎它们刚从刀尖上被断开，飘然飞起，但瞬间又凝固下来，而一旦它们一片片地并置起来，还在悄然地彼此应和，在风影中咏叹。

     As for Shi Mei’s work named “Itto-Rye Kenjutsu”, its strands of linen are translucent yellow, as if they have just been cut adrift from the tool nose, tending to float in the air but stand still for an instant. These strands are juxtaposed as slices and correspond with each other in silence, like an aria in the wind and shadow.

丝丝缕缕，斑斑驳驳，石梅选择麻丝，在一定意义上也暗合日本文化“摩灭”这个词的深度意味，其发音就感到一丝丝的怅然，而汉语的“摩灭”还有着摩挲与研磨的触摸与精炼过程，而且它们都以“麻”为声符，在古代汉语与日语发音之间有着回响。石梅的麻丝作品，在矿物色一次次的浸染后，既肯定了褪色的时间性与事物易朽的物质性，同时又带入了逆转与逆觉的艺术作用。

     Shi Mei’s choice of twisted and mottled linen thread, in a sense, coincides with the implication of the words “Momie” in Japanese culture, whose pronunciation sounds a bit disappointing. However, “Momie” as a Chinese character also signifies the touching and refining process of rubbing and grinding. “Momie” in both Chinese and Japanese has “M” as their phonetic element, which corresponds to each other for pronunciation. Shi Mei has dipped her works of linen thread with earth color time and time again, which not only affirms the timeliness of color fading and the perishable materiality of things but also equips with the artistic function of reversal and inversed visual effect.

麻丝与铁丝，带着自己的卷舌音，在叹息与圣咏的交织中，肯定无常又不屈服于寂灭，而是把天空与大地，把云彩与云雷，带入到作品的颤栗之中，既保留褪色磨灭与残败毁损的迹象，但又加以葱绿蓬勃与锦绣华彩的蔓延逆生，这是另一种锦灰堆式的纯粹表达，残剩之物获得了存在的尊严，它越是残损就越是辉煌，它越是枯涩就越是润泽，丝丝缕缕而不绝如缕，斑斑驳驳而如梦似幻，柔婉又隽永的深情诗意在无尽卷动，世界的空气在这个时刻也随之而颤栗，而美好，总是在这回首眷顾的坚定目光中，重新来临。

     With their retroflex, Linen threads and iron wires keep fickle and stand firm against the quietus in the intertwined sighs and chants. The sky, the earth, the cloud, and the thunder are put in the tremble of works, which not only retains signs of color fading, disappearance, remnants, and destruction but also extends and reverts to vibrant animation and splendid gorgeousness. This is a sheer expression of the brocade-ash pile, in which the remnants there obtain the dignity of their existence. The more incomplete the remnants are, the more glorious they are, and the more dry and astringent they are, the more lustrous and moister they are. The threads are constantly twisted, and their mottled looks are dreamlike. The delicate, significant, and affectionate poetic quality has an inexhaustible scrolling, and the air of our world therewith quivers at this moment. And the beauty always comes again in the firm graze of recollection and cares. 

部分作品图片：

《侘寂》Wabi-Sabi/2021

丝麻织物、金属蚀丝、矿物植物染料

Silk and 1inen fabrics /Corroded wires /Mineral and vegetable dyes

丝麻织物、金属蚀丝、矿物植物染料

Silk and 1inen fabrics /Corroded wires /Mineral and vegetable dyes

《疾走》Scoot/2021

综合材料、矿物植物染料

Comprehensive materials /Mineral and vegetable dyes

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

《牧神午后》The Afternoon of a Faun/2021

丝麻织物、金属蚀丝、矿物植物染料

Silk and 1inen fabrics /Corroded wires /Mineral and vegetable dyes

《驶向远方》Sailing towards the Distance/2020

丝麻织物、竹、金属蚀丝、矿物植物染料

Silk and linen fabrics / Bamboo /Corroded wires / Mineral vegetable dye

《一刀流》Ho-Ryu Keniutsu/2022

综合材料

Comprehensive materials

《岁月留痕》Marks of Time/2021

丝麻织物 金属蚀丝 矿物植物染料

Silk and linen fabrics / Corroded wires / Mineral and vegetable dyes

《空无·虚有》Emptiness and Nothingness/2019

丝麻织物 金属蚀丝 矿物植物染料

Silk and linen fabrics / Corroded wires / Mineral and vegetable dyes

简历： 

石梅

毕业于***艺术学院音乐系；

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；

作品《佳人有约》参加2016年第八届国际时装艺术展；

作品《和远古有个约会》参加2018年第九届国际时装艺术展；

作品《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；

作品《空无·虚有》参加“千年对话—2019时装艺术国际特邀展”；

作品《岁月留痕》参加“新世界，新视界——2020时装艺术线上国际展”；

作品《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；

作品《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）；

作品《侘寂》《驶向远方》2021年发表于艺术刊物—《中国“她”艺术》；

作品《牧神午后》参加“虚实之间—2022时装艺术国际展”。

Shi Mei

Graduated from the People’s Liberation Army Academy of Art;

As a performer in the General Political Department Song and Dance Troupe and a music teacher in 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 "Days' Marks" took part in the new world, new vision - fashion art online international exhibition 2020;

Works "Sailing into 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