The Color of Distance 你说的蓝是什么蓝?

July 17, 2020 2020年7月17日
The Age of Migration 1 (2018) 71.2 x 144.2 cm / Cyanotype, watercolor, inkjet print on silk 《迁徙时代 1》(2018) 71.2 x 144.2 厘米 /  蓝晒,水彩,丝绸喷绘

Sapphires, ocean tides, twilight skies, and the murky depths of a jumbled dream—these were the visuals that came to mind when I first saw the cyanotype prints of Chinese artist Han Qin. Her use of blue, which seemed to rove through every possible shade of the color, forms azure expanses swarmed by swimmers in white. These figures, some with arms interlocked, move with pressing urgency as if ready to surface from the paper. Han’s works are as mystifying as they are riveting.

With blue occupying nearly every inch of her prints, some may ask, “What’s the significance of the color?”


这样的蓝色,蓝得像宝石,像海洋,像仲夏的袭人晚风,像幽深的梦境,一梦到酩酊。

初看韩沁的作品,就是这深深浅浅的蓝,在一片氤氲里绵延开去,几枚洁白的小小幻影,漂游着、牵着手走来,好像要冲破画布跟你说些什么,却欲言又止。于是你沉醉了。

这是韩沁给我们设的第一个谜题:“为什么是蓝?”

Lover 1 (2018) 25.4 x 16.8 cm / Cyanotype on paper 《爱人 1》(2018) 25.4 x 16.8 厘米 / 纸面蓝晒(氰版照相法)
Falling 2 (2018) 25.4 x 16.8 cm / Cyanotype on paper 《落 2》(2018) 25.4 x 16.8 厘米 / 纸面蓝晒(氰版照相法)

Han explains that blue can establish a sense of distance and calm. It’s a color of mystery, divinity, and regality that carries a certain timelessness. The mere mention of blue brings to mind unclouded skies and the boundless seas. It feels close, yet out of reach, like the sliver of cerulean where the sky meets the ocean on the far-off horizon. “Even when you look at my prints up close, they still feel distant,” she says. “It also represents the spirit of exploration—the exploration of the unknown, of life’s uncertainties.”


蓝色可以创造距离感,韩沁说。和那些我们一提及蓝就会联想到的事物一样,它与海天同色,神秘、庄严、圣洁而神化,好似是寻常风景,却触手不可得。“即使近看我的作品,依然很远。”而蓝色就是这种距离的媒介。

蓝色对人类心理的影响又是镇静的,深远的,韩沁说。蓝色在自然界支配着水和天空,与“神性”有所相关,“它也许也代表着一种对未知的探索吧,探索一种遥远以及不确定。”而这或许就是蓝色永恒的精神魅力。

Pattern of Movement (series) (2016) 23 x 30 cm / Cyanotype on paper 《变动的印记 10》(2016) 23 x 30 厘米 / 纸面蓝晒(氰版照相法)

Han’s experimentation with cyanotype printing began in 2017In these earlier works, she staggered paper cutouts atop a sheet of parchment paper coated with a light-sensitive solution and exposed it to sunlight, which turned the uncovered areas to cyan-blue. “There’s an element of unpredictability with the medium, whether it’s the angle that the sunlight is reaching the surface or maybe the solution was mixed differently,” she says. “The intense blues and the hazy lines produced by the method make each work unique.” The fickleness of the medium itself seems suitable for the theme of uncertainty that’s often deliberated on in her works.


2017 年,韩沁开始用“蓝晒法”在皮纸上创作。脱胎于真实的人物,她把脑中的形象先剪成各种各样的形状,再把剪纸放在预涂的皮纸上,在光线下暴晒。而光线作用在皮纸上产生相应的投影轮廓, 创造出一个青色到蓝紫色之间的图像。然后用流水冲洗,把重重叠叠的影像“嫁接”在一起,再让最终的图像显影于薄如蝉翼的纸面或者绢面上。“由于阳光的不可预测性、表面的角度和预涂溶液的不同效果, 每件作品中模糊的群体和神秘独特强烈的氰蓝色都是独一无二的。”韩沁告诉我们。而这种不确定性在某种程度上,又反过来诠释了蓝色之所以重要的原因,它太独特了。

Pattern of Movement (series) (2018) 23 x 30 cm / Cyanotype on paper 《变动的印记 1》(2016) 23 x 30 厘米 / 纸面蓝晒
Single Shadow 2 (2018) 25.4 x 16.8 cm / Cyanotype on paper 《形单影只 2》(2018) 25.4 x 16.8 厘米 / 纸面蓝晒(氰版照相法)
On the Way 1 (2018) 25.4 x 16.8 cm / Cyanotype on paper 《在路上1》(2018) 25.4 x 16.8 厘米 / 纸面蓝晒(氰版照相法)

Han recently showcased ten prints at the Nassau County Museum of Art, each a different meditation on departure, memories, uncertainties, transformation, and—morbidly enough—drowning. Of these pieces, one of the most notable is The Direction of Migration, a large-scale piece that examines human migration. Han invited over twenty individuals to share their experiences of making a new home in a foreign city through a static pose—their bodies formed the white silhouettes that cover the piece. All of the participants were people who moved from China’s countryside to Hangzhou in search of better opportunities. “One of the participating artists was an older individual,” Han recalls. “She described her pose as a show of strength, a way of capturing the hardships she’s had to endure to stay in Hangzhou.”

From a distance, the silhouettes are hazy; encased within the swaths of blue, they’re like bits of sea foam being relentlessly being tugged, pulled, and set adrift by forces outside of their control. But Han believes there’s plenty of meaning to be found in the riptides of life, and she converts these diverse experiences into a visual format. In the series of Age of Migration, she even looks inwards, using her own immigration experiences to better understand the complexities of human migration.


飞翔、溺水、起航、回望,任何未知和变化都是灵感的来源。

韩沁最近在纽约拿桑郡美术馆(Nassau County Museum of Art)展出了 10 件作品,其中包括一张巨幅蓝晒作品,《迁徙的方向》。这是一副展示漂泊人生千姿百态的蓝晒作品。在创作《迁徙的方向》时,韩沁邀请了二十多名从异乡迁徙至杭州的朋友,请他们用不同的身体形态表现出各自的辗转经历。有一位艺术家前辈也参与创作,她说,‘我用尽全力好不容易才留在杭州,这就是我的奋力姿态’。”而每个人在迁徙过程中的姿态,远看就宛如一簇簇白色浪花,裹挟在蔚蓝色的海洋里。

个体的漂泊经历相互累加,所组成的内容就显得宏大许多。韩沁想通过更广阔的层面去讲述和移民大图景相关的内容,另一个系列《迁徙时代》也是如此,从自身的见闻出发,她试图讲述那些复杂又相互连接的故事:人之迁徙。

The Direction of Migration (Diptych) (2019) 84 x 2.4 m / Cyanotype on paper 《迁徙的方向(双联)》(2019) 84 x 2.4 米 / 纸面氰版摄影
The Direction of Migration (Diptych) (2019) 84 x 2.4 m / Cyanotype on paper 《迁徙的方向(双联)》(2019) 84 x 2.4 米 / 纸面氰版摄影

Two of the paintings from Age of Migration were inspired by her move to the U.S., specifically the 16-hour flight from Shanghai to New York. “After the landing gears leave the ground and the engine begins to roar, you’re given a God’s-eye view of the world; you feel above everything,” she recalls. “With the sky filling my field of view, I found myself lost in thought. I looked around the cabin, observing the passengers. Some were focused, some were weary, some were anxious, and some were frustrated. But they were all looking out of the window, gazing into the sea of clouds. I suppose that’s why we travel—we’re all in search of bluer skies that we can call our own.”

Memories of this trip have stuck with her, and in 2017, she finally turned them into a series of cyanotype prints populated by tiny swimmers. These water-bound figures would serve as the basis for the paintings of Age of Migration, which saw the same swimmers navigating much larger expanses of blue. “They are passengers on their own journeys,” Han says. “Depending on where they are in life, some may be floating while others may be sinking. With the advent of travel, mass migrations are commonplace now. The travelers are not happy, but nor are they sad. They’re content.”


《迁徙时代》系列中的两套作品,是韩沁最初从上海飞到纽约的那 16 小时联想而来的。“当飞机滑轮离开地面的一刹那,伴着引擎轰鸣声,产生俯视众生的自豪感。随后,空无的天际让人的联想毫无征兆地展开,从哪里来,到哪里去?细看机舱里每一个人的神情:专注的,倦怠的,期待的,落魄的,都在同一个机舱中,看窗外云海翻滚。我们爬山涉水,为的不就是那片更高更远的蔚蓝色风景吗?”

这个场景和当时的心情在韩沁心中一直挥之不去,后来逐渐形成完成一副描绘迁徙场景作品的想法。直到 2017 年,在完成一系列蓝晒小作品之后,她便将这些作品中的小人儿作为素材,创作了一幅时代迁徙大军的画作。“他们是旅途中的乘客,也是在生命不同阶段沉浮的芸芸众生。全球迁徙的时代,纵浪大化中,不喜亦不惧,应从容应对。”

The Age of Migration Tryptic (2018) 71.2 x 144.2 cm / Cyanotype, watercolor, inkjet print on silk 《迁徙时代三联幅》(2018) 71.2 x 144.2 厘米 /  蓝晒,水彩,丝绸喷绘

From Hangzhou to New York, Han’s art has been showcased in as many places as she’s lived, and the evolution of her work directly reflects all that she’s experienced in these places over the years. She moved out of China at the age of 24, and in the decade since, she’s completed college, built a home abroad, and gotten married. These transitional moments have enriched her art, pushing her to create even more ambitious works.

In 2019, for her exhibition at New York’s Fou Gallery, Ethereal Evolution, Han decided to incorporate a performative aspect to her works with the inclusion of live dancing. In continuing her exploration of migration and displacement, the invited dancers were all either non-American or exchange students. “The curator Hai Liang and I discussed how performance art could be included in the show,” she recalls. “The creation process and the performative dance could be one and the same. We envisioned it as something dynamic, capturing the sense of uncertainty that is inherent to migration. This would give additional dimensionality to the show.”

In the series, the dancers’ movements are rendered as blurry silhouettes against the deep-blue backdrops. The lack of definition is a deliberate feature of the series. These ill-defined forms visualize the struggle of the immigrant experience in their search for identity—for outsiders, these experiences can often be difficult to see and understand, but for the individuals experiencing them, the hardships are as clear as day.


从四海而来,在杭州创作,到纽约展出,翻山越岭的并不仅仅是作品本身,也折射出作品背后的个人经历。韩沁是 24 岁离开中国的,其中经历求学、移民、结婚定居,短短十年间文化环境与身份的转变,让她的艺术创作就此丰富起来。2019 年,在纽约否画廊举办个展的过程中,韩沁邀请舞者参与了创作全过程,其中很多是留学生和外国艺术家。“我和策展人海良讨论,将创作过程同时发展成为一段行为舞蹈,叙说动态的、不确定的状态给迁徙和旅行带来的意义,给精神层面带来的震动和冲击。”

就此诞生的作品名为《演.化》(Ethereal Evolution),模糊的人影层叠显现,像是一张巨大的胶片负片。舞者的身体就是实在的媒介,紫外线光就是画笔,韩沁把舞者身体挪移的过程“摄”下来了,无有面目,仅存轮廓。而这或许就是大背景下的个体经历,对外者是虚虚轮廓,对自身却再真实不过。

Ethereal Evolving 2 (2018) 208.3 x 119.4 cm / Cyanotype on paper 《演化 1》(2018) 208.3 x 119.4 厘米 / 纸面蓝晒(氰版照相法)
Ethereal Evolving 4 (2018) 208.3 x 119.4 cm / Cyanotype on paper 《演化 4》(2018) 208.3 x 119.4 厘米 / 纸面蓝晒(氰版照相法)
Tracking the White Shadow Performance Premier (2019) Performers: Izumi Ashizawa and Zhiwei Wu / ©Han Qin, Photographed by JoJo Zhong 《描摹白影》表演现场 (2019) 舞者:Izumi Ashizawa,吴芷葳 / 摄影师:JoJo Zhang
Ethereal Evolving 8 (2018) 208.3 x 119.4 cm / Cyanotype on paper 《演化 8》(2018) 208.3 x 119.4 厘米 / 纸面蓝晒(氰版照相法)
Ethereal Evolving 2 (2018) 208.3 x 119.4 cm / Cyanotype on paper 《演化 2》(2018) 208.3 x 119.4 厘米 / 纸面蓝晒(氰版照相法)

In recent months of lockdowns and border closures, relocation and travel haven’t exactly been relevant topics for Han. She says this is the longest that she’s stayed in one place in recent memory. Her full-time job as a professor means she’s mostly stayed at home, teaching online. Traveling has been the furthest thing from her mind. She isn’t starved for inspiration though; the internet and global politics have provided plenty of creative fodder.

Outside of her artistic endeavors, she’s also eager to do her part in fighting the pandemic. When Covid-19 was at its worst in China, Han worked with Chinese art institutions and media platforms to organize donations. When the virus reached New York, she helped exchange students figure out ways of returning home and even offered free counseling. “Every day was a new crash course on how to navigate the pandemic-stricken world,” she recalls.

As for the future, Han reveals that she plans to turn her focus toward the changing relationship between people and the place they call home. She also plans on merging together performance art and visual art again. An eagerness to further her art keeps her motivated and optimistic. “Nowadays, I’m often reminded of Henry Matisse’s work, and one specific quote by him,” Han says. “‘Each of us must find his own way to limit the moral shock of this catastrophe . . . For myself, in order to prevent an avalanche overwhelming me, I’m trying to distract myself from it as far as possible by clinging to the idea of the future work I could still do, if I don’t let myself be destroyed. ‘ This quote motivates me to keep making art.”


在最近的几个月里,关于“迁徙”的主题却显得有些落寞。韩沁也说,最近这段时间是她最长的“固定居所”时间,作为常年在中美两国的大学机构都有任教的她,最近“没有旅行,没有迁徙,甚至没有进城。”

于是,家、网络、这国与那国的新闻,成了她的生活主题,也成为新的创作思路。国内疫情严重的时候,韩沁和否画廊一起参加了华人艺术界联合网络媒体、昊美术馆和上海宋庆龄基金会为抗疫做的筹款活动,并捐赠了自己的一件作品。纽约疫情开始之后,帮助国内在美留学生成了她的日常:筹备课程、在线录播,联系种种资源为他们做归国打算,并做了许多的心理疏通和建设。她笑说,“了解危机中的世界成了我每天的必修课。”

对于未来的创作方向,韩沁把目光投在了人和生活环境的变化关系,并试图从历史故事中的获得启发。同时对创作语言和舞蹈语言解构重构,探索更多对视觉艺术表达的可能性。“我想起马蒂斯的剪纸花园,马蒂斯说:‘我们每个人都必须找到自己的方式来限制这场灾难的精神冲击。对我自己来说,为了防止让崩溃淹没我,尽可能依赖于仍然可以做的创作,以此来分散我的注意力,如果我不让自己被摧毁的话。’这句话在很大程度上给我以创作的动力。”

Han Qin: Ethereal Evolution installation view / Photographer: Nadia Peichao Lin 《韩沁,演·化》场景图 (2019) / 摄影师:林沛超
Han Qin: Ethereal Evolution installation view / Photographer: Nadia Peichao Lin 《韩沁,演·化》场景图 (2019) / 摄影师:林沛超

Like our stories? Follow us on Facebook and Instagram.

 

Website: hanqin.myportfolio.com
Instagram: @hanqinart
Facebook: ~/hanqinart
Weibo: ~/qinkkk

 

Contributor: Chen Yuan
English Translation: David Yen
Images Courtesy of Han Qin, Fou Gallery, ART33 & NCMA


喜欢我们的故事?欢迎关注我们 Neocha 的微博微信

 

网站: hanqin.myportfolio.com
Instagram: @hanqinart
Facebook: ~/hanqinart
微博: ~/韩沁art

 

供稿人: Chen Yuan
中译英: David Yen
图片由韩沁与否画廊、ART33、纽约长岛拿骚郡立美术馆提供