聚焦展览 | 李依宸 | 解构园林的视觉系统,使屏风成为引导观看的媒介

李依宸：当屏风引导观看

李依宸的创作实践以屏风作为方法论的起点，其选择并非源于对传统器物的形式偏好，而是基于屏风作为一种空间结构所内含的尺度调节与场所构筑潜能。与建筑空间的固定性相对，屏风具备可移动、可折叠、可重组的特性，使其成为一种介于分离与连通之间的阈限结构：它既非封闭墙体的绝对阻隔，亦非完全通透的界面，而是在显隐之间生成一种持续的视觉张力。正是这种中介性，使屏风能够将中国园林的视觉逻辑压缩为一种可操作的雕塑系统。通过框架、镂空与层叠，屏风内部形成多重局部视域，观者无法从单一视角获取整体，而只能在绕行、停驻与回望中不断重构其空间认知。由此，观看行为从结果转向过程：视觉不再是瞬时的捕捉，而成为被编排与引导的行动序列。

Li Yichen’s artistic practice takes the screen as its methodological starting point. Her choice stems not from a formal preference for traditional objects, but from the screen’s inherent potential as a spatial structure—one that regulates scale and constructs place. In contrast to the fixity of architectural space, the screen is mobile, foldable, and reconfigurable, making it a liminal structure that hovers between separation and connection: it is neither the absolute barrier of an enclosed wall nor a fully transparent surface, but generates a sustained visual tension between revelation and concealment.

It is precisely this intermediacy that allows the screen to compress the visual logic of Chinese gardens into an operable sculptural system. Through framing, perforation, and layering, multiple partial viewpoints emerge within the screen. The viewer cannot grasp the work in its entirety from a single angle, but must continuously reconstruct spatial cognition by walking around, pausing, and looking back. Thus, the act of seeing shifts from a result to a process: vision is no longer instantaneous capture, but a sequenced action that is choreographed and guided.

作品展览©李依宸

李依宸以木材为媒介，将屏风从其实用功能中抽离，重塑为一种可穿行、可渗透、可误读的空间装置，以此重新配置当代观看经验。她将中国园林的空间语法——路径引导、虚实遮挡、借景与层叠——转化为雕塑结构的组织原则，使传统空间的感知模式在有限尺度内以局部显现、意义留白的方式被重新编码，延续观看作为行动的核心命题。

Working with wood as her primary medium, Li Yichen extracts the screen from its practical function and reshapes it into a spatial apparatus that is traversable, permeable, and open to misreading, thereby reconfiguring contemporary visual experience. She translates the spatial syntax of Chinese gardens—path guidance, juxtaposition of solid and void, view borrowing, and layering—into the organizational principles of sculptural structure. In this way, the perceptual mode of traditional space is recoded within a limited scale through partial manifestation and semantic reserve, continuing the core proposition of viewing as action.

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李依宸 《庭院池水凝新碧·漪》 2025，俄罗斯榆木、丙烯，版数：3，171 x 77 x 12cm

Yichen Li,At Rippling, Fresh Emerald Stillness in the Courtyard Pool 2025,Siberian Elm, Acrylic,Edition of 3,171 x 77 x 12cm

李依宸 《庭院池水凝新碧·潺》 2025，俄罗斯榆木、丙烯，版数：3，193 x 77  x 8cm

Yichen Li,At Babbling, Fresh Emerald Stillness in the Courtyard Pool 2025,Siberian Elm, Acrylic,Edition of 3,193 x 77 x 8cm

在其创作框架中，中国园林被理解为一套关于视觉组织的空间系统。园林从未将“景”作为静止对象以供凝视，而是通过路径转折、虚实遮挡与框景取舍，持续生产一种“局部可见”的观看状态：视线在墙体与漏窗、实景与虚景之间被反复调度，观者无法获得全景式把握，而只能在片段中推演整体关联。借景、框景、漏景等常被视为装饰手法的园林技巧，实则构成一套独特的视觉机制——它们使空间经验不再呈现为静态图像，而是在时间中逐步展开：意义唯有在行走中生成，视觉唯有在运动中完成。因此，李依宸无意再现园林的具象符号，而是将这些组织观看的结构性逻辑抽象为可建构的创作语言，融入其作品的内在秩序。

Within her framework, the Chinese garden is understood as a spatial system dedicated to the organization of vision. The garden never presents “scenery” as a static object for contemplation; instead, through shifting paths, blocking with solid and void, and framing selective views, it continuously produces a state of partial visibility. The gaze is repeatedly directed between walls and latticed windows, actual scenes and implied scenes, denying the viewer a panoramic grasp and leaving only fragments from which to infer the whole. 

Techniques often dismissed as decorative—such as borrowed scenery, framed scenery, and peeked scenery—actually constitute a distinct visual mechanism: they transform spatial experience from a static image into a narrative unfolding over time. Meaning emerges only through movement, and vision is completed only in motion. Therefore, rather than reproducing the figurative symbols of the garden, Li Yichen abstracts these structural logics of organizing vision into a constructible artistic language, integrating them into the internal order of her works.

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李依宸 《石间寻园·半夏 》2024，香樟木，版数：3，80 x 40 x 30cm  ©李依宸

Yichen Li,The Quest for a Landscape Within Rock · Upon Summer's Threshold 2024

Camphor Wood,Edition of  3,80 x 40 x 30cm

材料在李依宸的实践中不仅承担形式功能，更承载时间性内涵。她常收集旧建筑中被遗弃的木雕残片，通过修复、切割与重组，将其嵌入新的屏风结构。这一过程可被视为一种物质考古学式的再组织：残片上的磨损、断裂与褪色痕迹，皆是时间沉积的物质印记。李依宸无意借此追求原真性或复古趣味，而是试图在新结构中暴露时间的断层与痕迹。当旧残片与新雕塑并置，线性时间叙事被打破，转化为可感知的层叠形态——历史以碎片形式介入当下，在观看过程中被重新激活，成为承载时间深度的物质寓言。木材自身的纹理、香气与刀痕，进一步使抽象时间回归可触可感的经验，使作品超越视觉，触及记忆与未言的历史。

Materiality in Li Yichen’s practice serves not only formal purposes but also carries temporal connotations. She frequently collects discarded carved wood fragments from old buildings, integrating them into new screen structures through restoration, cutting, and reassembly. This process may be regarded as a form of material archaeology: the wear, fracture, and fading on the fragments are physical traces of accumulated time. Li does not seek authenticity or retro nostalgia; instead, she exposes fault lines and traces of time within new structures. When old fragments are juxtaposed with new sculptures, linear time is disrupted and transformed into a perceptible layered form—history intervenes in the present as fragments, reactivated in the act of viewing to become a material allegory of temporal depth. The wood’s grain, scent, and tool marks further return abstract time to tangible experience, lifting the work beyond the visual to touch memory and unspoken histories.

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李依宸 《游园惊梦·山海经木马·云息伏木鞍》2026，北美白蜡木、古木、丙烯，版数：1，130 x 110 x 40cm

Yichen Li,Wandering in the Garden, Waking from a Dream ·Rocking Horse of Classic Mountain and Sea·Where Cloud-Breath Rests Upon the Wooden Saddle 2026

North American Ash Wood, Antique Wood, Acrylic, 24K Gold Leaf,Edition of  1,130 x 110 x 40cm

在形式语言上，李依宸常以几何框架作为作品的结构骨架，以此建立初始秩序与尺度；她以木雕的有机形态、镂空工艺及负形设计瓦解这种稳定感，赋予作品以呼吸性，使理性秩序与自然形态之间维持一种微妙的对位平衡。镂空使光线得以穿透、投射、停留，形成流动的光影层次；负形则将“空”转化为可感知的构成要素。在不同观看位置与时间光影下，空间关系随之变化，不再固定不变。由此，李依宸将空间不再视为静态容器，而是解读为一种动态关系：视线、身体、光线与屏风相互作用，共同构成持续生成的观看情境。

Formally, Li Yichen often uses geometric frameworks as the structural skeleton of her works to establish an initial order and scale. She undermines this stability with organic carved forms, openwork craftsmanship, and negative spaces, endowing the work with breathability and maintaining a subtle counterbalance between rational order and natural morphology. Openwork allows light to penetrate, project, and linger, creating shifting layers of light and shadow; negative space transforms “emptiness” into a perceptible compositional element. Spatial relations evolve with changing viewpoints and shifting light throughout the day, refusing fixed interpretation. In this way, Li Yichen reinterprets space not as a static container, but as a dynamic relationship: sight, body, light, and screen interact to constitute a continuously generating situation of viewing.

依托多元方法论路径，李依宸致力于构建一种非表象化的当代表达。她不将传统简化为图像符号进行消费，而是深入其内在逻辑，将其转译为适配当代的创作语法，让传统文化在当下语境中重获新生。她的创作始终与场域紧密共生，无论是画廊、艺术机构、品牌空间还是特殊场所，作品都能与环境主动对话，生成全新意义。在此过程中，艺术家持续回应 “观看如何被组织” 这一核心命题，使传统空间经验突破既有边界，以更具批判性与生成性的方式呈现，最终实现空间智慧与当代观看需求的结构性共鸣。

Through diverse methodological paths, Li Yichen strives to construct a non-representational contemporary expression. She does not consume tradition as simplified visual signs, but penetrates its internal logic and translates it into a creative grammar adapted to the present, allowing traditional culture to renew itself within contemporary context. Her creations are deeply intertwined with their sites—whether exhibited in galleries, institutions, brand spaces, or even boutique hotels, the works enter into dialogue with their environments and produce new meanings. In this process, the artist persistently addresses the core question: How is seeing organized? Her practice allows traditional spatial experience to break through existing boundaries and present itself with greater criticality and generativity, ultimately achieving a structural resonance between spatial wisdom and contemporary demands of viewing.

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