Bai Ming

装裱是一种修护过程，它会转换观者对被装裱之物的珍惜并形成审美上的心里转移。此件作品用大漆调和瓦灰制作成凝重而具有岁月感的画面机理，用大漆与稀料液体进行多层次的反复涂绘，将大写意形态的翻开的经书形成凝固版的瞬间“装裱”在画面上。装裱的过程是一个再转移的过程，它不仅传递岁月感，也是在传递精神感受；它是对文明经典记载的转换，并将其与视觉记忆互为启迪。墟像与悲壮感与史诗性的诉求成为融合的感观之象。

 
Framing is a process of restoration that transforms the viewer's appreciation of the framed object and creates an aesthetic transformation psychologically. Bai Ming uses lacquer and tile ash to create a solid and age-worthy picture texture and repeatedly paints with lacquer and thin liquid in multiple layers to "mount" the open sutra in a large-captioned form as a solidified version of the moment on the picture. The framing process is a process of re-transfer, which transmits a sense of age and a spiritual feeling; it is a transformation of the classical records of civilization and its mutual enlightenment with visual memory. The image of the marketplace and the sense of sadness and epic appeal become the image of fused senses.

瓶形器物是一种司空见惯的日常用具，从模具里取出的器物均拥有同样的标准和形态，艺术家通过对作品的施压和刻划处理使之原本一致的形态变得各具不同，给每一件相似形态的作品赋予其符号化的、绘画性的从平面到立体且多样性的装饰转换，以及雕塑性的空间与塑造，使它在统一的形态中拥有各自鲜明的“面容”。一切的改变都是形式，一切的记录也是过程，这组作品既是记录各自形态的改变过程也是最终呈现各异态之间的变化过程，将实用之物向非实用化转换不仅是形式的探究，更是观看与观想的改变。



The bottle-shaped items are commonplace everyday utensils, and the objects taken out of the molds all have the same standards and form. However, the artist made the initially uniform shapes different, applying pressure and scratching to the objects, giving each similarly shaped piece a symbolic, pictorial transformation from flat to three-dimensional and diverse decoration. Each uniform piece has its own "face" in a unified form created through the sculptural space and shaping. This group of works is a record of the transformation of each form and a final presentation of the process of change between the different pieces; transforming functional objects into artworks is an exploration of shapes and a metamorphosis of viewing and observation.