黄燕的纤维密码

祝融融

纤维艺术，贯穿着整个人类文明的发展历史。在文字被发明以前，它是远古时代先民们记录已知信息的工具;在丝绸之路上，它是贸易繁荣和文化发展的代表性符号;在现代人的手中，它是细小而绵密的针脚，是一个个漂亮的钩花，是充满了爱意与温情的表达……

纤弱的线，在这个时代又能够创造多少价值？对此，作为中国美术学院纤维艺术专业负责人的黄燕给出了答案：从一根线开始叙述。

深呼吸，一次实验性的尝试

口罩、防护服、核酸检测……一个个名词，构筑起新冠肺炎疫情背景下人们的集体记忆。你还记得，自己有多久没有好好深呼吸了吗？

“我不仅想通过这件作品表现自己当下的生活状态，更希望观者能通过它体悟到时间。”《深呼吸 · 2021》是创作于2021年的一件墙面装置作品，运用了线、着漆板、LED灯管、电压控制器等材料。装置正中竖向嵌入了两条日光灯管，黄燕根据深呼吸的频率，用变压控制器控制灯光从明到暗的变化。

今年2月底，《深呼吸 · 2021》入选第七届全国青年美术作品展，并作为50件作品之一，获第十四届全国美展展区直送作品资格。黄燕直言，创作之初并没有预想到这件作品的最终呈现效果，但当那两根灯管被嵌入作品的预留部位时，她心里顿时感觉“对了”。

“这其实是一次实验性尝试。”黄燕表示，《深呼吸 · 2021》是她第一次尝试在直线布局中加入灯光，并且选择让灯管直接暴露。深呼吸的频率控制灯光从明到暗，再从暗到明重复循环，一呼一吸之间，仿佛在与时间同频共振。

“空气、光影、时间、空间，这些对象虽然看似虚无缥缈，却始终围绕着我们，人永远被囊括在其中。只是由于物理显现的特殊性，这些对象很容易被忽略，但事实上我们却又无时无刻不在体验。深呼吸就是一种体验它们的好途径。”黄燕说 ：“灯光发挥作用的时候，我想观众们应该会有诸如此般的切身感受。”

黄燕坦言，自己的创作还处在“进行时”的状态中，这次作品入选，并获直送全国美展的资格，对她而言是意料之外，也无疑是莫大的鼓励与认可。

不设限，为自己创造更多可能性

黄燕自2004年开始从事当代纤维艺术创作，师从施慧。她对线的特殊偏好尤其显现在近年的系列作品中，尽管在其创作早期，线原本是一种帮助软材料塑型的辅助性工具。黄燕没有将自己禁锢在线的材料属性或是公众认同中，而是致力于在艺术表现语言上探索创新。

2015年，黄燕考察了诸暨大唐袜业的生产车间，在轰鸣的机械运作声中，她反差性地感受到了线的另一种力量，这种力量完全区别于生活常态中的“慈母手中线”。当数以万计的线顺应机器操控，以同一频率在空间中震动、伸缩，工业的集成化和机器所控制的秩序瞬间冲击着她的感官。

“在那个环境场中，人是消失的，像被蒸发了一般。”黄燕自述，“那一刻，我整个人的神经仿佛都被抽紧了。也是在那一刻，我看到了直线的力量。”时至今日，直线这个意象一直在黄燕的脑海中挥之不去，也促使她在内心生发出一种将其与艺术勾连的冲动，希望创造一种凌驾于生活常态之上的、用线叙述的方式。

黄燕对弦理论、三角学颇为感兴趣，毕达哥拉斯学派“万物皆数”的主張启发了她对创作中数、量、比例等抽象关系的思考。这些抽象事物之间有着恒定的逻辑，并与美学息息相关。相比形态万千的世界，它们更接近于黄燕所渴望的精神维度，让她抽离于生活和日常。

2017年博士毕业时，她创作了《灰色光》——一件占幅8米宽的墙面装置作品。黄燕在惯用的丝线与木板框架基础上，创造性地加入了标尺图示，暗示着对平面维度中时间与空间的衡量。“光影，有着类似‘灰空间的意向，仿佛一个抽离于现实的、被挤压的扁平化世界。”她如此阐释道。

《灰色光》是黄燕在用直线叙述上的一个创作拐点，兑现了对平面世界的挖掘，但也让她陷入了一长段被平面化禁锢的瓶颈期，直到《深呼吸 · 2021》的出现——“这件作品虽然有着桎梏化的外形，却因为灯光和呼吸频率的加入而变得有弹性了，不仅启动了视觉体验，更启动了感官体验。”黄燕表示，《深呼吸 · 2021》让她挣脱了光影视觉层面的藩篱，转向另一个开阔的语境。

“刚接触这一领域的时候，我也不理解什么才是纤维艺术。但在不断编织和建构的过程中，我明白艺术创造是无限的，只是看你如何去思考、如何去选择，才能带给自己更多的可能性。”正如黄燕所说，所有的艺术创作都是艺术家内心的直接表达，凭心而作，不为自己设限，才能激发更丰富的创造力与可能性。

天地人，关于艺术的不懈追问

纤维，或者说织物，是最接近于人们日常生活的。外婆织的毛衣、妈妈绣的花，或许是大众理解纤维艺术最容易的途径。然而，纤维艺术发展至今，已然从简单的编织工艺向更广阔的概念延伸，走向“无界”的实验之路。

对于纤维艺术今后的发展趋势，黄燕有自己的看法：“与科学技术相结合，这不仅是纤维艺术未来的发展方向，也是技术导向之下人类未来的发展方向。”一方面，从最早的棉花、亚麻等自然纤维，到提炼于石油的腈纶、氨纶，再到数字纤维、碳纤维，艺术创作所使用的材料在不断变革;另一方面，多媒体影像、机动装置、数码编织等新媒体、新技术手段的介入，也在转变人们看待纤维艺术的眼光。

2019年，黄燕所创作的场景装置（结合影像）《叙序-2》在“混响时间：第三届纤维艺术新锐展”中展出，这是她第一次尝试结合影像来呈现大型场景装置。除了大尺度的空间结合影像外，她还在其中加入了运用数码编织技术制成的编织文本《叙序-1》，引书写之章、棋盘之局和阡陌交通之境，诠释经纬纵横之意。观者是其间的穿行者，一如人类在天地间的穿行。

天、地、人，这个亘古有之却又历久弥新的议题，也呈现在黄燕的艺术思考中。“我时常在想，古人脚踏大地、仰望星空那一刻的感觉，与当下的我们、未来的人类之间有什么差异？”黄燕说，“我是从一个连接远古与未来的舞台意向上来创作《叙序》的，像是创造某种介质通道，在数个纪元后得以搜索一些人类文明的痕迹”。3BD9E3CE-382E-4E03-A011-C5653442A612

如同閱读一本书不能仅看华丽的辞藻一样，当代艺术的表现手法和形式包罗万象，很多艺术理念也要求观者具备相应的知识背景。然而，当代艺术所具备的实验探讨性和对艺术过程式的呈现力，也正是其魅力所在。

“如果单纯依赖视觉感知去解读当代艺术，虽然是常态，但无从谈共鸣。倘若得以从时间维度上回望当代艺术，那它便如艺术发展脉络中出现的种种现象，折射出人们在生活基点上的思考。”谈及如何看待当代艺术难以被大众接受这一现象时，黄燕这般解释道：“在这一层面上，纤维艺术恰恰凸显了它的特殊性。因为它自人类文明建立之初，甚至更早以前，便与人相捆绑。”

一根线，连缀起古今与未来;一代人，亦有一代人的新使命。他们穿梭于细密的针线之间，钻研着经纬之道与人们日常生活、文化、审美之间的联系;他们又手执日新月异的材料，搭建起一座座跨越时空的桥梁，编织着航行于浩瀚艺术世界的思想之舟。

为无形的思想构建一个形态，似乎是纤维艺术家的使命。而向人们普及艺术与知识，鼓励更多的人走进展览现场，则是这一代青年艺术家的责任与担当。

路漫漫其修远兮，我以我手织我心。从一根线开始叙述，是黄燕心中最踏实的创造方式，也是她从事纤维艺术所体会到的乐趣。

黄燕与她所热爱的纤维艺术，也正在走向新的春天。

链接：

黄燕现为中国美术学院纤维艺术专业负责人，博士、副教授、策展人。

作品《霓》获第十三届全国美术作品展进京作品。

作品《深呼吸·2021》入选第七届全国青年美术作品展。

Starting from a Strand of  Thread：

Huang Yans Fiber Art Quest

By  Zhu Rongrong

Fiber art is as old as human civilization. Before writing was invented， it was used by early human ancestors to record information. In the history of the Silk Road， it was a symbol of thriving trade and cultural prosperity. In modern times， it embodies densely stitched crochet patterns， an exquisite expression of love. How much value， then， can a strand of fine fiber create in this era？ According to Professor Huang Yan， chairwoman of the Department of Fiber Art at China Academy of Art， the answer lies all in her fiber art stories.

Facial masks， protective coveralls and nucleic acid tests have been part of our collective memories of the COVID-19 pandemic. Do we still remember since when we havent dared to breathe deeply？ In 2021， Huang created Deep Breath 2021 as a mirror revealing her condition of life then and her perception of time. Made of threads， painted boards， LED tubes and voltage controllers， this wall installation art featured two vertical fluorescent light tubes in the middle， flashing on and off at the rhythm of deep respiration.

In late February 2022， the work was selected for the Seventh National Youth Art Exhibition and included among the top 50 works shortlisted for the 14th National Art Exhibition. Huang said she didnt know what to expect when she started the work， but she knew it was exactly what she wanted the moment the two tubes were installed as designed.

According to Huang， the work was her first attempt to include lighting into a linear design. The exposed lights that go on and off symbolize a complete cycle of inhalation and exhalation， which conveys her concept of time.

“Void or ethereal as they are， air， light and shadow， time and space encompass us in every moment of our lives. But due to their special physical properties， they are easily neglected. To breathe deeply makes a good way to feel them， which the audience will realize when seeing the lights on and off，” said Huang.3BD9E3CE-382E-4E03-A011-C5653442A612

She believes that she is only halfway through her creative journey. For her， Deep Breath 2021， being selected and shortlisted， came as an unexpected reward as well as great encouragement and recognition.

Huang started to study fiber art under Professor Shi Hui at China Academy of Art in 2004. Her preference for threads is conspicuous in her recent series of works. Instead of being limited by the physical property and the common identity of threads as auxiliary for shaping soft materials， Huang exerted herself to exploring new language in fiber art.

In 2015， she went on a field trip to hosiery workshops in Datang， a town in Zhuji city， Zhejiang province. Standing in the roaring factories， she felt a different type of power in threads， quite unlike what people usually feel about the kind of “thread” in the hand of a loving mother. She was considerably impressed by the sight of thousands of threads vibrating at identical frequency on the machines with their integrated and mechanical order.

“Right then and there， I could hardly feel my own existence. I saw only the power of straight line threads，” Huang recalled. To this day， that image is still lingering in her mind， motivating her to integrate straight line threads into her art， and she hopes to create a means to narrate stories with threads hovering above mundane life.

Huang has given a lot of thought to the abstract relationships such as number， quantity and proportion in her art， inspired by string theory and trigonometry， and especially by the Pythagorean theory of “everything is number”. With an intrinsic logic between them， they are closely related to aesthetics. Compared with the multi-form world， the above abstract concepts make Huangs works transcend the world of everyday life， as they are closer to the spiritual dimension that she desires.

When she graduated with a PhD in 2017， she created Gray Light， an eight-meter-wide wall installation. Apart from her usual silk threads and wood boards， she added ruler icons to indicate the measurement of time and space on a two-dimensional surface. “Light and shadow present an image similar to ‘a gray space， symbolizing a squeezed flat world detached from reality，” she explained.

Gray Light marked a turning point in her use of straight line narration as it was her first attempt at two-dimensional space. After that she ran into a long-term bottleneck of 2D space until Deep Breath 2021. “Conventional as it may seem， it appeals to perceptive experience like a visual one by adding light and breathing rhythm，” Huang said. It allowed her to break free from the shackles of light and shadow and dive into another field.3BD9E3CE-382E-4E03-A011-C5653442A612

Initially she did not have a clue about what fiber art was. After repeated attempts， she came to see the boundlessness of artistic creation. There are infinite possibilities as long as one is willing to adopt a different perspective or explore a different narrative form. She believes an artist will find boundless creativity and endless possibilities if they follow their heart and set no limits on themselves.

Fibers surround us in our everyday lives — from the sweater your grandma knits to the embroidery your mom makes， two most common types of fiber art. However， modern fiber art has passed from the initial stage of weaving to the experimental stage of exploring boundless possibilities. Huang believes the future of fiber art lies in integrating science and technology into its creation. On the one hand， fiber art materials have witnessed tremendous changes. On the other， new media and new technology are transforming the way people look at fiber art.

In 2019， Huangs scene installation （combined with video） Preface-2 was put on show at the 3rd Fiber Art Exhibition for Emerging Artists. Featuring a woven text and an image of a chessboard， it was her first attempt to incorporate digital images into extra-large fiber installation. Huang displayed a symbolic relationship between the audience walking through the artwork while viewing the text and mankind traveling along myriad paths under the sky.

The symbolic relationship between heaven， earth and man is a recurring theme in her artistic reflection. “I often wonder how the ancients felt when they stood on the ground and looked up into the starry sky and how that is different from how we feel now and how humans will feel in the future，” said Huang. “Preface is a symbol of medium linking the ancient past to the future world， through which traces of human civilization can still be recognized after a few epochs.”

Contemporary art encompasses diverse forms of artistic expression. Therefore， viewers need to develop an understanding of background knowledge before they can appreciate varied art concepts. Artists experimentation with various narrative forms and the representation of their creative processes are what contemporary art is all about.

“Misunderstandings of contemporary art are inevitable if viewers try to interpret it by solely visual elements， and resonance with contemporary artworks is even harder to achieve. Nevertheless， if interpretation is a chronological approach， viewers will find that they mirror the time period and society in which they are created. In this regard， fiber art is a different story as it has been closely connected with everyday life since the start of human civilization — or even earlier.”

In fiber art， threads are used to bridge the past， present and future， and artists of this generation are expected to promote art and expand presence in exhibition halls. The road ahead for Huang Yan is long and she will urge herself on to seek her dream of fiber art. Starting from a strand of thread， her artistic quest has brought her great fun and joy along the way.3BD9E3CE-382E-4E03-A011-C5653442A612

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