馬拉喀什，和那裡的小鎮
Marrakech,and the town in there

某天看希區科克1956年的電影《擒凶記》（《The man who knew too much》），關於家庭，信仰，人性和陰謀，故事從北非摩洛哥開始，碾轉到英國，最後刺客在劇院的交響樂裡墜樓，女主角和被綁架的小孩重聚，因為很多場景在摩洛哥拍攝，所以電影裡很多畫面都是濃烈的色調，喜歡那樣的色調，因為帶著溫度。我沒有去過摩洛哥，想像中那裡應該是一個關於顏色，溫度以及衝突的地方，當然還有著名的沙漠，大概是在15，16歲的時候我開始著迷沙漠，為了它，我去了敦煌，內蒙和新疆，當然，這顯然不夠，甚至怎麼都是不夠的，它是我自己不知家鄉是何處的某種寄望，2013年的時候我搬到柏林，在柏林的生活與我在國內創作時一樣非常簡單，或者說這是我目前想過的一種生活，在柏林，我的生活半徑都能在15分鐘內解決，超市，健身房，喜歡的餐館，漸漸地我喜歡上這種生活，它能讓我大部分的時間能夠獨處與思考，由於在工作室工作的時間比較久，有時就會覺得屋子裡的世界才是一個現實世界，而屋外的世界是不真實的，常在出門之後我的腦子開始自動成為一個字典記錄所見圖像，它有時會自動連接到我的夢境，有的來自現實生活，常常單個圖片可以隨時跳出來與其它的圖片進行配對，有時帶著疑問，有時這種尋找與思考似乎大過我對自己作品畫面上思考的時間，它們更多的關於非同類物質的相似屬性，日漸久了，慢慢地我覺得這很有意思，並想在我的作品裡呈現出來，通過一個大Drawing方式，但這一年沒有改變的是，我依然在做縫補，紙上，布上，或者牆上，我依然還在縫補我自己，因為我無法完整。我希望我的作品能夠打動你內心深處被隱藏起來的那一部分。

小华，2017年6月于柏林


I once watched the 1956 movie, The Man Who Knew Too Much, directed by Alfred Hitchcock. With a story about family, faith, human nature and conspiracies, the setting starts in Morocco in North Africa before continuing to England. At the end of the movie, the assassin character falls from a ledge inside a concert hall, and the heroine is finally reunited with her kidnapped son. Because a lot of scenes were filmed in Morocco, much of the movie imagery exudes strong color tones. I like such colors because they bring a certain temperature. I have never been to Morocco, but I imagine it as a place of vivid colors, high temperatures, conflict, and, of course, the famous desert. My fascination with the desert probably began when I was 15 to 16 years old. Due to it, I travelled to Dunhuang, Inner Mongolia, and Xinjiang. But, this was not enough. It will actually never be enough. Deserts are a kind of place I look forward to when not knowing where I belong. In 2013, I moved to Berlin, and my life here is as simple as when I was working in China. Or, I should say, this is the kind of life I want to have now. In Berlin, everything is placed within a 15-minute distance from home: the supermarket, gym, and my favorite restaurants. Little by little I fell in love with this life. It allows me to spend most of the time alone, thinking. Because I spend many hours working in my studio, it sometimes feels like what is inside the house is the real world, and that the world outside my building is unreal. After going outside, my brain often starts to automatically record the images I see, forming a dictionary. Sometimes it will automatically connect with my dreams, some of which are based on real life. Often a single image suddenly springs out of my mind, pairing with another. Sometimes I am in doubt, while other times this kind of seeking and thinking seems to last longer than the time I spend reflecting about the images on my own works. My paintings are more about the similar properties of different materials. Day by day, I gradually found this to be interesting. I wanted to show it in my works through large drawings. But, what hasn’t changed this year is that I am still sewing: on paper, canvas, or walls. I am still mending myself because I cannot be whole. I wish my works will touch that part of your heart which remains hidden.

Xiaohua, Berlin, June 2017.