石梅

“侘寂”（wabi—sabi）源于佛教的禅宗，日本人开始在茶道中使用，随之形成一种独特的艺术风格。初期，两个字各自独立。“寂”：为孤独、寂寞、古旧、沧桑，它较具体，更倾向于一种美学的典范。“侘”（wabi）解释为失意落魄、远离尘嚣，它更具主动性并发自内心，也更宏观。后来两个字逐渐放在一起使用，不分彼此，更加强了各自的寓意。我把《侘》与《寂》分别作为二件作品的题目，是觉得两字分开从声音上更美妙，富于深趣和诗性，也和作品更贴切。

"Wabi-sabi" originated from Zen Buddhism; the Japanese use it in tea ceremonies, subsequently developing a unique artistic style. Initially, the two characters were separate. "Sabi" (寂) is more specific and tends to be more aesthetic; it indicates a paradigm for solitude, loneliness, antiquity, and vicissitude. "Wabi" (侘) interpret as disillusioned and far from the world, macroscopic; it is more active and comes from the heart. Later the two words were gradually used together, without distinction, reinforcing their respective meanings. Artist used "Wabi" and "Sabi" as the two pieces' titles; she felt that the two words sound more beautiful, more exciting and poetic, and more relevant to the art pieces.

This work is situated from a perspective that contemplates the possibility of glimpsing different knowledge appealing to make more flexible established frameworks of what is considered valid only from one point of view. The inclusion of other ways of accessing that knowledge generates tensions with various parameters that contemporary, urban and western life proposes to us.We could say that the connection and rootedness with the corporeity embodied in the plants show processes left aside and located in spaces depreciated by the system. These aspects can even be related to the question of how we make a body and value what is considered to know as issues related to a political subjectivity and the issue of the epistemological legitimation of what is situated between the tangible and intangible.