时光的印迹
时光的印迹孙欣
第一次走进古丽的画室，我被深深的触动了。画室四壁挂满了各种尺寸的画幅，素雅而又充满生机。日光透过窗外的青藤洒落室内，我象是从喧闹的世界走入了另一个时空。每幅画都散发出一种气息，幽雅而细腻，让我情不自禁沉迷其中，某种潜藏于记忆深处的情愫，慢慢的流溢而出，久久难以出离。而她小小的身影伫立其中，自信而饱满，是自己艺术王国的女王。
没有传统油画技法的束缚，没有流行题材的局限，亦没有视觉语言符号化的追求。她似乎是在一个无拘无束，完全自由的境界往来穿梭。这里，远古的历史的沉积…乐音依然悠扬的钢琴…树梢间飞掠而过的小鸟…晴朗夜空中闪烁的星月…车窗外一闪即逝的风景…建筑物庞大的空间…室内幽暗一角的瓶花和木椅…某年某月某一天翻开的书页，经她细腻而敏感的情感的梳理，承载着她对生命的体验和感悟，在记忆的尘埃中时隐时现。它们是具体的，可又飘忽不定。——它们呈现了她生活的某个瞬间，记录了她思想的某个闪烁。它们在被不断的塑造与消解的绘制过程中，逐渐接近着她的内心，诉说着她的希冀与渴望。它们是她心象的呈现。
古丽通过她的绘画完成着她对生命的体悟。她把自己融入画面，任由意念在流逝的时光中潆洄，沉积为肌理与色彩的微妙变化，这变化最终蕴集为一个意象的时空。在这无限的时空里她捡拾着记忆的碎片，悉心拂去岁月的尘埃，倾听那无言的诉说，在心灵的最深处与之回应。于是她把时光制成记忆的印签珍藏在画面里，纤弱却不乏顽强，敏感而蕴涵丰富，真实而美好。
她与记忆中的形象对话，与画面空间中无数个稍纵即逝的起伏与沉积对话，与画幅表层斑驳的肌理对话。她沉迷其中，被它们引领着，超然世外，向着画面深处走去，同时也走进自己的内心世界。那里时空交错，空蒙蕴集，宏大而微妙。它们既是画面上凝固的一瞬间，又是无限变化的鸿蒙太空中的一隅，同时亦是古丽情感的升华与结晶。它们象是不经意间拍下的快照，可又是完整的——蕴涵着前生今世无数的动荡与波澜，述说着情感之流每一个洄转与微漾。心与物交融于无限丰富的平面世界。画面既呈现着绘制的过程，又永远处在过程之中。它们亦引领着观者于这循环往复的过程之中辗转沉浮，感受那流逝的时光。
不同于具有强烈视觉冲击效果的画面构成风格，古丽的绘画尺幅不大，色彩淡雅，它们被赋予了生命一般，静静的停留在画室里，似乎在等待我去发现。而当我试图抓住那飘忽不定的形象时，它们又不断变幻着向画面深处退去。它们唤醒了我记忆中的某些瞬间，延续或交叠着，把生生不息的生命的历程在这一刻全部呈现出来。我倾听每一幅画的诉说，它在等待我的应答。
2006 年北京
The Trace of Time
Sun Xin
The first time I entered Gulistan’s studio, I was deeply moved by the paintings of all sizes on the wall. The paintings are simple, elegant, but full of vigor. Outside the window grows green vines, through which the sunlight slants into the room. The tranquility makes me feel that I am leaving the trivial world. One can feel an exquisite tinge from each painting, which is so bewitching that old memories are called on and I feel it hard for me to get out from under it. Gulistan, confident and mature, is standing steadfast. She is the queen of her art realm.
Neither tied to traditional oil painting skills, nor confined to popular themes, Gulistan seems to draw out of her own will without pursuing visual language symbols. A variety of images are created in her paintings, such as the sediment of ancient history, the piano with which melodic music is still played, the little bird winging over the trees, the stars and the moon shining in the sky, the scenery lapsing outside the window, the spacious room of a building and the vase and flower and wooden chair in a dark corner, and even a page thumbed occasionally. She decorates and refines them with her sentiment. With her sharp feelings, she draws her reflections on life into her works. These images are both concrete and intangible, presenting the moments of her life and leaving the trace of her great thought as well. While painting, she creates images to her satisfaction through insistent modification. They are the embodiment of her mind, pouring out her hopes and longings.
Gulistan’s insight into life can be found in her paintings. With herself being an element of the painting, her will crosses time, embodied by the subtle change in lines and colors. The change finally makes a space for an image. In the boundless space, she recalls her memory, piece by piece, attentively polishing them. These memories are silently whispering while she listens with all ears, echoing the sound in her soul. Thus she makes time a trace of memory, treasuring it up in her paintings. As fragile as it is, the trace is unyielding, sensitive and rich in meaning. Isn’t it fine and real?
She talks with the images in her memory, with the countless transient waves of rising and sediment, and with the mottled lines in her paintings. She is absorbed in them, led into a surreal world and walking into the painting, meanwhile into her own inner world, where time and space are interwoven—blank and vague, immense and delicate. They are not only the moment eternally occupying the space of a canvas but a nook for the changing universe. With them, Gulistan’s sentiment is sublimed. They are like pictures occasionally snapped, integral in meaning, for they make recordings of the vicissitudes of one’s life as well as emotional waves. In the two-dimensional world, matter and soul melt into one. The painting itself tells the process of the drawing, which is endless in return. The audience feel themselves following the ups and downs moving with the old days coming back to life.
Gulistan’s light-palette paintings are not large-sized, different from those with overwhelming visual effect. Her paintings, as if alive, are quietly lying in the studio and awaiting me to find them. However, the floating images would withdraw into the depth of the painting when I make an attempt to reach them. They waken some moments in my memory. Lasting and overlapping, these images present a full picture of life right at the present moment. I am listening to each painting, which is pouring out vivid stories and waiting for my response.
2006 in Beijing
—Translated by Guo Jian
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