孤獨(dú)的人觀看孤獨(dú)的人

　　Lonely people watch lonely people

　　“人們冒著冬夜之雨,，甚至不夸張地說(shuō)冒著生命危險(xiǎn)前來(lái)觀摩，孤獨(dú)的人觀看孤獨(dú)的人,，游吟者在游吟者畫(huà)像前縱聲歌舞,。”12月初，在紐約暗流畫(huà)廊并不“豪華”的展廳里,，羅一個(gè)展“無(wú)家可歸”系列畫(huà)作被放置在地板上,，仿佛天橋下那些隨意躺臥在路邊的流浪者，靜等著觀眾的到來(lái),。

　　"People braved the winter rain and literally risked their lives to come, lonely people watched lonely people, a troubadour sang and danced in front of paintings of troubadours.”At the beginning of December 2020, in the not-so-luxurious room of Undercurrent Gallery in New York, Loy Luo's "homeless" series of paintings were laid out on the floor, like homeless people lying on the roadside under an overpass, waiting for the audience to arrive. 

　　暗流畫(huà)廊前廊

　　Undercurrent Gallery Front porch

　　2020年1月,，一個(gè)赴美旅行轉(zhuǎn)換心情的臨時(shí)決定成為羅一一段特殊經(jīng)歷的開(kāi)始。從紐約肯尼迪機(jī)場(chǎng)下飛機(jī)后,，羅一租了一輛汽車(chē),，駛向東岸幾座城市,，開(kāi)啟了參觀畫(huà)廊、博物館的旅程,。原本她打算一路游到西海岸,，但隨之傳來(lái)國(guó)內(nèi)疫情的消息，使她以一葉知秋之心境預(yù)見(jiàn)世界之大不安,，于是逃到到紐約以北的山區(qū),，寄居在美國(guó)家庭的House里惶恐憂懼半月有余。

　　In January 2020, Loy Luo made a decision to temporarily travel to the United States, seeking a change of scenery. This was the beginning of a unique experience for the artist. After landing at New York's Kennedy Airport, she rented a car and drove to several cities on the east coast, where she began her avid tour of galleries and museums. Originally, Loy planned to drive all the way to the west coast, but then came the news of the pandemic. Foreseeing the coming of an increasingly anxious world, she escaped to the mountains not far north of New York City, where she “sheltered” in the homes of several American families for a couple of weeks, feeling terrified.

　　開(kāi)幕現(xiàn)場(chǎng),，戴口罩的羅一

　　Loy Luo wearing a mask at the opening 

　　2月下旬,，盡管恐懼，羅一還是帶著對(duì)藝術(shù)交流的渴望回到紐約城,。各種嘗試和思索后,，她開(kāi)始實(shí)施百人肖像行為計(jì)劃，即在疫情恐慌的紐約街頭給各種戴面具和不戴面具的人畫(huà)素描肖像,。7月15日,，名為《另一個(gè)我》的百人肖像行為展在紐約白盒子藝術(shù)中心開(kāi)幕，展期延續(xù)了兩個(gè)月,。在這期間，羅一開(kāi)始了《無(wú)家可歸》展的籌備與創(chuàng)作,。

　　In late February, in spite of her worries, Loy Luo returned to New York City with a desire for artistic exchange. After a lot of trial and thought, she embarked on the 100 Portraits Project, a project to sketch people who wore or didn’t wear a mask on the streets of New York in the midst of the coronavirus outbreak. On July 15, "The Other I," a performance exhibition of 100 portraits, opened at the White Box Art Center in New York for two months. During this period, Loy Luo started the preparation and creation of her next project - an expression of the concept of “homeless”. 

　　《無(wú)家可歸》展覽現(xiàn)場(chǎng)

　　"Homeless" exhibition

　　羅一開(kāi)始無(wú)家可歸系列繪畫(huà)的創(chuàng)作同時(shí)以疫情中無(wú)家可歸者身份實(shí)施無(wú)家可歸之行為,，進(jìn)行到第四個(gè)月時(shí)，紐約暗流畫(huà)廊的合伙人通過(guò)了《無(wú)家可歸》的個(gè)展方案,，并列入畫(huà)廊12月展覽計(jì)劃,。暗流畫(huà)廊的撰稿人阿德里亞娜·弗隆認(rèn)為，隨著紐約這座城市所進(jìn)行的無(wú)情的變革,，它的居民在脆弱的微散居住狀態(tài)中疲于生存,。那些居住在公共空間和私人空間裂隙中的人，表現(xiàn)出了一種不確定性,，往好了說(shuō),，這種不確定性是對(duì)“共同選擇”的挑戰(zhàn)，往壞了說(shuō),，是政治失敗的證明,。但羅一從個(gè)人經(jīng)驗(yàn)的角度認(rèn)為，藝術(shù)家是天生的流浪者,，他們也有各種心理問(wèn)題,，他們對(duì)自己所處時(shí)代的問(wèn)題比普通人更敏感。

　　Luo began creating a series of homeless paintings while illegally living in her studio as a homeless person during the time of COVID-19. In the fourth month, the partners of New York's Undercurrent Gallery approved the solo exhibition plan of "Homeless" and included it in the gallery's exhibition plan for December 2020.Undercurrent Gallery contributor Adriana Furlong wrote:As the city performs relentless alterations, its inhabitants strain to survive inside fragile micro-diasporas. Those who inhabit the chasm between public and private space embody an indeterminacy that, at best, defies co-option and, at worst, is testament to political failure. However, Luo believes from the perspective of personal experience that artists are born wanderers with their own psychological struggles, and because of that are more sensitive to the problems of their time than ordinary people.

　　在《無(wú)家可歸》者中縱情歌舞的“游吟”歌手

　　A "minstrel" singer who sings and dances in The Homeless

　　顯然,，在“無(wú)家可歸”作品中,，“無(wú)臉”特征吻合了大時(shí)代下身份缺失帶來(lái)的迷惑感受,，也雙關(guān)著失去尊嚴(yán)的隱喻。但當(dāng)羅一“目睹’卡西莫多(Quasimodo)’駝背的身體散發(fā)出雕塑般的莊嚴(yán),、‘游吟詩(shī)人（Troubadour）’孤立于歷史廢墟上的身影令人唏噓時(shí),，這些世俗社會(huì)定義的無(wú)用者的存在讓我關(guān)聯(lián)到提倡無(wú)用之用的中國(guó)古典哲學(xué)�,！笔堑�,，這些“無(wú)家可歸”者作品中的那種支離混沌感并不體現(xiàn)絕望的孤獨(dú)，而是羅一式孤獨(dú)：帶著一點(diǎn)堅(jiān)韌的孤獨(dú),，還帶著一點(diǎn)面對(duì)這個(gè)動(dòng)蕩不安的世界時(shí),，永遠(yuǎn)保持樂(lè)觀的也許微弱卻溫暖的孤獨(dú)。

　　Obviously, Loy Luo's faceless figures suggest a loss of both identity and dignity in the modern world, but when the artist saw a kind of sculptural majesty in “Quasimodo”’s hunchbacked body, and the 'Troubadour' standing lonely among the ruins of history, Loy was reminded of the meaningfulness of those whose existence is labeled as otiosity, which is discussed in classical Chinese philosophy. The intention of the works is not so much to emphasize the despair of those who are homeless. Instead it is loneliness tempered with a bit of resilience; not overly strong, perhaps, but somehow always warm and optimistic in the face of this turbulent world.

　　羅一在紐約街頭

　　Loy Luo is on the streets of New York

　　藝術(shù)背面：死亡,、存在,、表達(dá)

　　The back of the art: death, existence, expression

　　在異國(guó)親歷疫情讓羅一對(duì)死亡和存在有了與以往不同的認(rèn)知。通過(guò)對(duì)疫情期間人性的觀察她感受到,，真的直逼死境容易使人突然間精神潰散,、執(zhí)迷肉身。她因此獲得對(duì)將死之人最后的心理掙扎,、陰暗,、扭曲等的理解及對(duì)生命脆弱的同情。也因此更堅(jiān)定認(rèn)知,，無(wú)論任何借口,，對(duì)戰(zhàn)爭(zhēng)和暴力的慫恿推崇都是人類最大的惡行，是逼人為獸罪的惡行,。

　　Living through a pandemic in a foreign country has given Luo a different perspective on death and existence. Through observing human nature during this hard time, she felt that a person's spirit could suddenly break down and become obsessed with the body. She gained an understanding of the last psychological struggles, shadows, distortions of the dying, and a a sympathy for the fragility of life. It also makes us more determined to recognize that all the promotion of war and violence is man’s greatest evil - an evil that leads human beings to lose the connection to their spiritual selves and instead act like animals. 

　　羅一在展廳

　　Loy Luo is in the exhibition hall

　　新的認(rèn)知也可以用來(lái)解釋她在不同階段創(chuàng)作面貌的改變,，羅一說(shuō)，由于擔(dān)憂災(zāi)難中個(gè)體性被群體埋沒(méi),，所以她以極大熱情啟動(dòng)了初衷為珍視個(gè)體性的百人肖像計(jì)劃,。在最初的恐怖氛圍里她并沒(méi)有意識(shí)到把表象細(xì)節(jié)的特殊性等同于個(gè)體性有什么問(wèn)題，反而是懷著真誠(chéng)的對(duì)生命的敬畏之心極力刻畫(huà)每一張獨(dú)一無(wú)二的面孔,；也許是特定時(shí)節(jié)某種強(qiáng)迫癥般的精神執(zhí)拗以及過(guò)度認(rèn)真,，使羅一那個(gè)階段的肖像素描形成了另一種精神氣場(chǎng)，一種類似于肉身在場(chǎng)感帶來(lái)的樸素的感動(dòng),。

　　The new cognition can also be used to explain the change of her creative appearance in different stages. Loy Luo said she started the "100 People Portrait Project" with great enthusiasm because she feared that individuality would be lost to the community during the disaster. In the initial atmosphere of horror, she did not realize that there is a problem with equating a person’s individuality only with their appearance. However, she tried to depict each unique face with a sincere reverence for life. Perhaps it was her obsessive-compulsive stubbornness and excessive earnestness which also formed another kind of spiritual characteristic, a kind of simple emotion similar to the presence of the body.

　　《另一個(gè)我》個(gè)展肖像作品

　　"The Other I" solo exhibition portrait works

　　羅一猜測(cè),，人對(duì)精神的感知和對(duì)死亡的恐懼密切相關(guān)，越恐懼越容易淪陷于表象世界,，而越安全,，反而越發(fā)親近更純粹之精神，這時(shí)表象真實(shí)反而不那么重要。她說(shuō),，當(dāng)突如其來(lái)的生死威脅就在眼前時(shí),，人可能會(huì)依賴對(duì)表象肉身的執(zhí)著來(lái)轉(zhuǎn)移驅(qū)散內(nèi)心驚恐；而當(dāng)威脅減弱或適應(yīng)恐怖后,，才有能力去體驗(yàn)真實(shí)自己的真實(shí)情緒,，并試圖表達(dá)；又只能在感受到更大的安全后,，才再次復(fù)蘇對(duì)生命恒常面對(duì)的價(jià)值問(wèn)題的思考,，這時(shí)候藝術(shù)表達(dá)開(kāi)始趨向冷靜、抽象,、或真正的深刻,。 

　　Luo conjectured that people's perception of the spirit is closely related to the fear of death. The more afraid people are, the more likely they are to fall into the world of appearances. The safer they are, the closer they are to the purer spirit, the reality of appearances is not so important. She said that when the sudden threat of life and death is at hand, people may rely on the attachment to the physical appearance to divert and disperse the inner fear; And when the threat is reduced or people have adapted to the terror, they are able to experience their true emotions and try to express them. Only when they feel more secure can they revive their thinking on the value problems that life always faces. At this time, artistic expression begins to become calm, abstract, or really profound.

　　《另一個(gè)我》展的大幅素描

　　A large sketch in the "The Other I" exhibition

　　藝術(shù)家在布魯克林DUMBO藝術(shù)區(qū)工作室

　　The artist works at her studio in Dumbo, Brooklyn

　　不是畫(huà)展的畫(huà)展

　　A painting exhibition that is not a painting exhibition

　　2020年的經(jīng)歷境遇，導(dǎo)致了羅一創(chuàng)作理念,、狀態(tài)和形式的改變,。我們可以看到，她來(lái)紐約后連續(xù)舉辦的三個(gè)個(gè)展(其中一個(gè)是在線展)都不像以前那樣是抽象藝術(shù),。然而,，羅一強(qiáng)調(diào)她的新作品并不是被很多人理解的具象藝術(shù)，甚至也不是具象表現(xiàn)主義,，她認(rèn)為畫(huà)廊展出的鉛筆肖像和以無(wú)家可歸者形象為主題的繪畫(huà)其實(shí)是借殼繪畫(huà)的觀念甚至行為,，這些畫(huà)是一個(gè)完整系統(tǒng)中的元素或裝置。

　　The experience in 2020 has led to the change of Loy Luo's creative concept, state and form. We can see that the three consecutive solo exhibitions she held after coming to New York (one of which is an online exhibition) are not abstract art as she did before. However, Luo stressed that her new works are not just pieces of Figural art that may be understood by many people, it is not even representational expressionism. She says, the pencil portraits and homeless-image-themed paintings, in the exhibition, are outside forms, behind which are some concept or performance art. These paintings are elements of a complete system. 

　　她提醒人們注意她在《另一個(gè)我》展覽中通過(guò)視頻裝置作品記錄的一個(gè)疫情街頭的行為,，以及同時(shí)展出的報(bào)紙現(xiàn)成品的時(shí)效提醒等,。她透露《無(wú)家可歸》展背后是一個(gè)持續(xù)了半年之久的無(wú)家可歸的擬真生活狀態(tài)，與此同時(shí),，展覽中的細(xì)節(jié)也反映出一種意圖，即把繪畫(huà)本身裝置化,，或身體化,。

　　In “The Other I” show, she reminded us to pay attention to the video installation works which recorded a performance on the street in the outbreak as well as the newspaper ready-made works displayed in the show which remind us of the close connection between the works and the temporal context. She disclosed that behind the "Homeless" exhibition was the simulated life situation of her own illegal homelessness that had been going on already for half a year. At the same time, the details, in the exhibition, also reflect the intention that treats the paintings themselves as ready-mades, maybe bodies glimpsed in passing.

　　《另一個(gè)我》個(gè)展的視頻裝置

　　Video installation for the solo exhibition “The Other I”

　　看展姿勢(shì)：表現(xiàn)主義、大寫(xiě)意,、符號(hào)學(xué)

　　Exhibition postures: expressionism, freehand style, semiotics

　　羅一說(shuō)此次展覽最大的收獲是她與來(lái)訪的紐約藝術(shù)家們的交流,。讓羅一欣慰的是，她看到參觀者們欣賞作品時(shí)的專注,、嚴(yán)肅和作品間呼應(yīng)出的和諧調(diào)性,。除了Dumbo 藝術(shù)區(qū)的藝術(shù)家鄰居來(lái)參加開(kāi)幕式，Sergey Kir 等藝術(shù)家朋友說(shuō)是看到媒體展訊專程趕來(lái),，他們分享給羅一那些她并不知情的媒體訊息,。陸續(xù)前來(lái)觀展的參觀者們熱情分享其觀展感受：James Howard Collins，Markus.Nikol’a Mironovic認(rèn)為畫(huà)面情緒飽滿，Vytenis Jankunas,、John Ensor Parker說(shuō)畫(huà)面構(gòu)思充滿寓意,；Mark Crawford, John Mazlish說(shuō)這些畫(huà)面讓人聯(lián)想到戈雅、蒙克,；Paul Chepolis談到畫(huà)面抽象具象元素的銜接巧妙,；Michael Ser, Philip Rothenberg欣賞不同材料間的沖突和諧；Queenie Wang問(wèn)藝術(shù)家是否有中國(guó)潑墨大寫(xiě)意的背景經(jīng)歷,，等等,。

　　Loy Luo said the biggest gain of the exhibition was her communication with visiting artists from New York. To Luo's delight, she saw the attention, seriousness, which is harmony with the atmosphere of the show. In addition to the artist neighbors from Dumbo Art District who attended the opening ceremony, Sergey Kir and other visitors said that they came to the show because they saw some art media posts, and they shared with Loy Luo some media information that she did not know. Artists also shared their feeling about Loy’s art: James Howard Collins, Markus, Nikol 'a Mironovic thought the paintings full of emotion; Vytenis Jankunas, John Ensor Parker said the images were full of meaning; Mark Crawford, John Mazlish said the images were reminiscent of Goya and Munch; Paul Chepolis talked about the ingenious convergence of abstract and representational elements in the picture; Michael Ser, Philip Rothenberg appreciates the conflict and harmony between different materials; Queenie Wang asked if the artist had a background in Chinese splash-ink brushwork, etc.

　　《無(wú)家可歸》作品局部細(xì)節(jié)

　　partial details of the works from “Homeless”

　　參觀者對(duì)展覽方式很敏感，覺(jué)得把放在地板上的畫(huà)很吻合“無(wú)家可歸”的主題; 還有畫(huà)下的木塊,，用毛筆在地上寫(xiě)下的畫(huà)名,，以及其他不引人注目但隨處可見(jiàn)的中國(guó)書(shū)法元素等，它們被觀者識(shí)別和提及為具有特殊意義的符號(hào),。似乎有意識(shí)地使用符號(hào)學(xué)的解讀方法在紐約藝術(shù)界很普遍,。例如，“紅墻”左邊的黑色彎曲條被Steve West看作是一根巨大的拐杖,，以至于角落里的流浪漢夠不到它,。又如《青銅睡佛》中的模糊藍(lán)色身影被Scott Endsley解讀為一個(gè)保護(hù)者，盡管這種解讀可能與藝術(shù)家的原意恰好相悖,。

　　Visitors were sensitive to the style of the exhibition and felt that resting the paintings essentially on the floor was appropriate to the theme of "homeless"; There are also the wooden blocks under the paintings, the names of the paintings written on the ground with a ink brush, and other unobtrusive but ubiquitous Chinese calligraphy elements, which were identified and mentioned by the viewers as symbols with special meanings. It seems that the conscious use of semiotic methods of interpretation is common in New York art circles. For example, the black curving strip on the left of "Red Wall" was seen by Steve West as a crutch so large that the homeless man in the corner could not reach it. Or the fuzzy blue figure in "The Bronze Sleeping Buddha " is read by Scott Endsley as a protector, even though this interpretation may be contrary to the artist’s original intention.

　　《無(wú)家可歸》展放置地面的作品

　　works of ”Homeless" on the floor

　　羅一說(shuō),，每當(dāng)她路過(guò)墻壁有涂鴉印記的街角，看到那張擺放地面的展覽海報(bào)時(shí),，就想起阿德里亞娜展覽前言里的開(kāi)篇：一個(gè)生命在我們居住的建筑幾何圖形上留下印記,，要多久，要到什么程度,，才能給我們留下溫暖的軀體的印象? 

　　Whenever she passed the street corner near the gallery with a graffiti on the wall and the poster of the exhibition below it on the ground, Loy was reminded of Adriana’s opening line of the exhibition preface: “How long, and to what degree, must a being imprint itself upon the geometries of our lived architecture before imparting suggestions of a warm body?”.

　　她說(shuō),，在當(dāng)代藝術(shù)的語(yǔ)境中，要捕捉到源于藝術(shù)家個(gè)人生活經(jīng)驗(yàn),，同時(shí)又與外部世界產(chǎn)生共鳴的能指,，需要藝術(shù)家對(duì)自己誠(chéng)實(shí)，同時(shí)對(duì)時(shí)事敏感,。在她看來(lái),，“面具”和“無(wú)家可歸”是當(dāng)下意義層次豐富的能指。

　　She says that in the context of contemporary art, to capture the signifier which originated from the individual life experience of the artist but also resonates with the external world requires the artist to be honest with him- or herself and sensitive to the time. "Mask" and "homeless" are the signifiers with rich levels of meaning in the current time, in her eyes.

　　春天有多遠(yuǎn)

　　How far is spring

　　
“昔我往矣楊柳依依”,，雖說(shuō)羅一剛?cè)ッ绹?guó)的一月還談不上楊柳依依,，總還算天下太平�,？傻�2020年7月簽證到期,，綿延近五月的疫情卻正值高峰，無(wú)法回國(guó)的羅一只好將簽證延期半年，但當(dāng)她打算在《無(wú)家可歸》展結(jié)束后回國(guó)時(shí),，新一波的疫情卻使她提前3個(gè)月訂購(gòu)的航班被取消了,。一月的紐約似乎離春天還很遙遠(yuǎn)，只不過(guò)羅一的收獲還是令人頗感暖意,。

　　Some lines from The Book of Songs, a collection of classical Chinese poems, say, “When I left there were budding willows by the road; when I returned, rain and snow”. Although in January when Loy Luo left China, it was far from willow to bud, the world was still peaceful. But when her visa expired here in July 2020, the pandemic was at its peak after nearly five months from its start in the U.S., so she could not go back to China and had to extend her visa for six months. And then, although she had planned to return after the Homeless exhibition, she discovered the flight she had booked three months in advance was cancelled because of the renewed pandemic. Spring seems far away in New York in January, but Loy's harvest is still very warm.

　　在畫(huà)廊和藝術(shù)家均無(wú)期待的情況下,，《無(wú)家可歸》展驚喜地獲得了諸如：Artforum, Artcard.cc, Artindumbo, allevent.in, larryqualls.blogspot.com, twocoatsofpaint.com, expoartist.org, inoox.com等美國(guó)專業(yè)藝術(shù)媒體的展訊推送，以及不少藝術(shù)自媒體的轉(zhuǎn)發(fā),。而中國(guó)藝術(shù)評(píng)論家夏可君和藝術(shù)家董鶴,、李振中則在葦草智酷段永朝先生的組織下和羅一進(jìn)行了線上藝術(shù)交流活動(dòng)。

　　Both Luo and the gallery owners were happily surprised by the art media’s coverage of the “homeless" exhibition opening: Artforum, Artcard. Cc, Artindumbo, allevent. In, larryqualls.blogspot.com, twocoatsofpaint.com, expoartist.org, inoox.com, etc., as well as pushed forward by some social media. Chinese art critic Xia Kejun and artists Dong He and Li Zhenzhong - hosted by Duan Yongchao - had an online art exchange with Loy Luo under the organization of the Chinese NGO CoolReeds.

　　令人鼓舞的是,，大約在“無(wú)家可歸”展開(kāi)幕的同時(shí),，暗流畫(huà)廊向感興趣的藝術(shù)家發(fā)出了申請(qǐng)未來(lái)展覽的通知，最終收到了近70份申請(qǐng),。值得指出的是,，美國(guó)的非營(yíng)利畫(huà)廊為他們認(rèn)為優(yōu)秀的藝術(shù)家提供展覽——不一定,是眾所周知的或受歡迎的——而且畫(huà)廊的日常導(dǎo)覽工作由志愿者擔(dān)任, 人們相信這種非盈利制度可以更好地維護(hù)藝術(shù)的純潔。

　　It is very encouraging to note that Undercurrent had sent out a general notice for interested artists to apply for future shows there around the same time as Homeless opened and ended up receiving almost 70 returns. It could be noted that non-profit galleries in the United States offer exhibitions to artists they believe are excellent - not necessarily because they are well-known or popular - and also that the daily tours of the galleries are conducted by volunteers, which people believe can better maintain the purity of art.

　　盡管整個(gè)紐約城都因疫情處于大蕭條中,，畫(huà)廊還是在展覽初期就收到藝術(shù)贊助人Christopher Pelham先生的熱心捐贈(zèng),，臨近展覽結(jié)束，畫(huà)廊陸續(xù)收到作品收藏意向,。撤展當(dāng)天,，紐約上州一位藝術(shù)資助人開(kāi)車(chē)到畫(huà)廊，將羅一的作品及行李接到為其提供的工作室,。

　　Although New York City is certainly suffering under the effects of the pandemic, the gallery received a generous donation from art patron Christopher Pelham at the beginning of the exhibition, and continued to receive requests of pieces from the show for collections up to the end of the exhibition. On the day of the show's departure, a patron friend from upstate New York drove to the gallery to help take Ms. Luo's work and luggage to a new studio temporarily provided for her to embark on the next phase of her creativity.

　　羅一作品

　　Loy Luo’s works

　　 The Son of the God, Mixed-Media, 36” *48”, 2020

　　《圣子》91*122 cm 綜合材料 2020年

　　Red Wall, Mixed-Media, 36” *48”, 2020

　　《紅墻》91*122 cm 綜合材料 2020年

　　Dumbledore, Mixed-Media, 36” *48”, 2020

　　《鄧布利多》91*122 cm 綜合材料 2020年

　　Quasimodo,Mixed-Media, 36” *48”, 2020

　　《卡西莫多》91*122 cm 綜合材料 2020年

　　《陰影區(qū)域》91*122 cm 綜合材料 2020年

　　The Shaded Area, Mixed-Media, 36” *48”, 2020

　　 Troubadour, Mixed-Media, 36” *48”, 2020

　　《游吟詩(shī)人》91*122 cm 綜合材料 2020年

　　The City Mountain, Mixed-Media, 36” *48”, 2020

　　《城市山》91*122 cm 綜合材料 2020年