非池中藝術網

小華(b. 1986)

畢業於德國柏林藝術大學的小華起初的創作手法主要以縫線來貫穿畫面，在德國柏林一縫就是一千米（meter），在幾乎無色或保持布料本色的畫布上。或者貼過薄薄宣紙的畫布上，以細微的網線甚至於紗布，來縫補畫面。這兩年，小華加強了線的表現力，一旦她找到一種很厚的印度手工紙，以墨汁染黑，或保持其白色，然後開始畫出一道道痕跡，或者以鐵絲來縫線。而墨汁則浸透在沉

厚裂開的黑紙或內斂秀靜的白紙上裡面，這些不規則的線痕勾勒出藝術家觀察世界的角度。

「我們每個人都是生活在這個社會裡的人，我們中的每一個「我」，都是這個時代最好的樣本。」自2013年，小華搬到了柏林這個充滿傷痕的二戰城市與小華的創作方向有了直接關係，傷痛和記憶這兩者是從外部世界到內心感知，也是我們普遍共有的經驗，它與我們所處的東方或西方世界都沒有關係。藝術家選擇了針、線、紗布等等這些材料本身也有這方面的隱喻。

Xiao Hua (born 1986)

Graduated from the Berlin University of the Arts, Xiao Hua’s context of creation mainly consisted of sewing through an image. She began her first collection, From 1 to 1000 meters, completed with a thousand meters long fishing lines on untreated canvas or papers. Fishing line is made of plastic and has changed the lives and methods of fishing men completely in this century. She is trying to narrate the changes surrounding her with this tracing tool. In the last two years Xiao Hua has been intensifying the expressive power of her lines; she found a type of very thick Indian handmade paper and began dying the canvas black with ink, or she would keep it white and draw a trail of marks, or she would sew on the canvas with iron wire. When the ink has soaked into the thick, cracked black paper, or the thread is static on the white paper, the irregular streaks outline the perspective used by the artist to observe the world. “We all are individuals living in this society; among us, each ‘me’ is the best specimen of this era” , she said. In 2013, Xiao Hua moved to Berlin; this city, deeply scarred during World War II, is directly related to Xiao Hua’s creative direction. Pain and memory both reach inner perception from the outside world, being also part of our universal experience, which has nothing to do with where we come from, the East or the West. The artist has chosen to use needles, thread, gauze, etc., because these materials are themselves a metaphor of this perspective.

Having graduated from the Berlin University of the Arts, Xiao Hua’s initial mode of creation mainly consisted of threads running through an image. In Berlin the artist’s seams were a thousand meters long, measured on an almost colorless or untreated canvas; sometimes a thin string, or even gauze, was stuck on the thin rice paper canvas to mend the painting. In the last two years Xiao Hua has been intensifying the expressive power of her lines; she found a type of very thick Indian handmade paper