“所有這些繪畫形式，只要是真正的藝術(shù)，就是精神的食糧?！?/span>
—— 瓦西里·康定斯基
All varieties of picture, when they are really art, feed the spirit.’
-- Wassily Kandinsky
無題 Untitled 布面油畫 Oil on canvas 32X26cm 2016-2017
你無法賦予作品一個(gè)準(zhǔn)確的意義和情感，使每個(gè)人可以對它們有不同的理解。它提供了一條基本的生命線，超越了作品所在的時(shí)代和文化，一定意義上延長了作品的生命。這些作品不是用來講述，而是用來啟發(fā)。如果它們傳遞出絕對清晰的信息，也就失去了想象和詮釋的空間。一幅好畫就像一部好電影。如果主題是關(guān)于生命，它就應(yīng)該對所有人都是開放的，因?yàn)椴还芩帟r(shí)代和地點(diǎn)如何相異，人類生命在可預(yù)見的時(shí)間跨度里都是出奇地相似。我們都在一生中受同樣的人類情感驅(qū)動(dòng)，而生物學(xué)對人類的感知有最直接的影響。邱瑞祥對此深有感觸。
——節(jié)選自凱倫 · 史密斯《深淵》
The fact you can’t pin them down precisely in terms of meaning and emotion, is what makes them open to all. It provides the essential lifeline that extends the existence of a work beyond the era and culture in which it is created. The paintings don’t describe as much as evoke. If they were absolutely clear in their message then there would be no room for imagining, for interpretation. A good painting is like a good film. If it is about life then it is open to all, for human life is rather predictably similar regardless of era, or place, subject to the same human emotions that accompany the ages in life, which biology has the most direct effect on perception. Qiu Ruixiang has experience of this with the example of a specific painting prompted very different reactions from viewers.
——Karen Smith,"GROPING IN THE DARK"
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