展览预告|王心笛:我几乎厌恶一切

I Hate Almost Everything

One day, in the studio, in front of my work.

“Why do you keep layering so many levels?”Curator A asked.

I said,“I want to make the visual effect more extreme and the composition richer.”

“Is that all?”he pressed.

“What else... perhaps it’s also my aversion to emotional brushstrokes that forces me to fill the entire canvas,”I thought to myself, but did not say aloud.

Speaking of aversion, it arises frequently within me:

I hate the awkward silences in conversation, yet in those suffocating moments I find myself unable to come up with anything to say;

I loathe all my minor flaws, trapped in endless self-reflection;

I detest stupidity, so I constantly perform intelligence and composure, leaving no vulnerability to be seized upon...

For a long time, aversion has been the driving force behind many of my actions. It stems from an obsession with perfectionism, and this very obsession allows me to calmly conceal the surging waves of disgust beneath.

The triggers of my aversion exist in every moment. I am“allergic”to the predicaments

women are ashamed to mention or choose to ignore; to the tension and symbiosis within intimate relationships; and to the pervasive prejudices that surround us. They push me to gaze inward, to talk to myself, and to feel how emotions affect my body. 

Yet compared to all this, losing control seems even harder to accept.

And so, every“cataclysm”is hidden within what appears to be a quiet, almost imperceptible “stillness”...

Painting has given me more chances to communicate with myself, becoming an outlet for my emotions. I attempt to release unspeakable, fragile feelings—anxiety, guilt, aversion, tenderness—onto the canvas.These emotions ripple through my work as abrupt brushstrokes, unevenly applied color blocks, and flowing water stains —yet concealed by my “skillful”control beneath layers of calm edges and seemingly balanced, interlocking structures.Smooth, flat ribbons twist and curl—yet they may also function as tools of restraint and violence.A transparent, intact bell jar represents the suffocation of dissociation from reality.Even the elegant calla lily carries a hint of rebellion through its erect stamen.All kinds of seemingly ordinary “lightness”hide an unspeakable “weight.”These unspoken “dark rooms”are given a calm and restrained visual appearance.Through processes of covering and reconstruction, emotions are released; possibilities for self-reconciliation are sought; and a precise visual language is ultimately realized.