艺术 | 蛾不丑，“丑”的是人性符号

艺术家魏子一，出生于贵州省贵阳市，现就读墨尔本大学纯艺专业。

我与“他物”建立联系，不断的变化和搬迁。我的实践尝试去实体化个人臆想，创造超现实世界，将信息和能量转化为物件，并通过绘画、装置和数字处理图像呈现。

这种臆想仿佛不属于这个世界，狂野，完全脱离了艺术世界的现实，也许这意味着一些原创的、怪异的、胜似恋物癖的存在，但心理上充满了诱惑。更像是一种精神力，试图发现、颠覆以及扭曲已知现实。这个过程可以当我我在“意”与“识”中游荡，发觉自己的欲望。这个过程可以让我在将梦想转化为现实的同时，挖掘自己无意识的欲望。”

—— 魏子一

I relate to the "other", constantly changing and relocating. My practice attempts to materialize personal fantasies and traumas, create surreal worlds, transform information and energy into objects, and present them through paintings, installations, and digitally processed images.

Through a focus on body worship, desire, and principle, I examine the relationship between humanity and reality. The universe is a web; humans, creatures, and man-made objects are the knots and dots; what forms the world is the connection we have with every aspect of things around us, and the relationship is constantly evolving. I find it quite humorous to see myself as a carrier of information and spiritual energy, moving in a web of connections among ‘matter’ all over the world; connecting art, culture and my femininity; I receive bits and pieces of information and energy from others and form my Id and my ego. There is something fascinating about being able to comprehend life and human nature from alternative perspectives. It is the most effective tool that drives my sensitivity, imagination and creativity. Wild, original, strange, and fetishistic, but psychologically charged, my work would seem out of place, and outside of reality. It is a merging spiritual power that seeks to discover, subvert, and blur the line between reality and desire.

“人”这一主题，魏子一的主题。在一个多文化交融的澳洲，寻找西方根性与东方血脉，这是一个旧而新的问题。之所以说旧是“林风眠、常玉、潘玉良”这代人一百年前在欧洲尝试着中西方文化融合，有成功者，亦有遗失者。对于一百年后的留学生来说，同样面对西方与东方，地域与民族等一系列文化差别及所寻找到的契合点。她一下子迷上“物”这表达方式，其实也是在不断摸索，平面到立体，生活与精神之间游历，寻找到了自我追寻的载体与精神传达的载体，这个阶段对于艺术家来说是非常宝贵的探索阶段，相信她未来的艺术道路会越探索越精彩。

——2022年12月陈顺林于贵阳市南明河畔记

The topic of "people" aligns with the elements of Wei's work. Trying to establish roots in the western world while valuing one's own culture and nationality is never easy in a country that is home to a wide range of cultures, such as Australia. This struggle is both 'old' and 'new'.

It is an 'old' problem that dates to the generation of Lin Fengmian, Sanyu, and Pan Yuliang. There was an attempt a century ago to integrate Chinese and Western cultures in Europe. Some win, and others lose. A hundred years later, many international students will also encounter numerous cultural differences between the West and the East, regions and nationalities, as well as the commonalities they have discovered. Wei is fascinated by the expression of "things". Through exploration, she moved from two-dimensional to three-dimensional, as well as between life and spirit, in search of the carrier of self-discovery and spiritual communication. This stage is very precious for artists. As she explores, I believe that her future artistic path will grow more exciting.

丑蛾日记

《蛾不丑，“丑”的是人性符号》

今天给猫猫买了个蛾，样子很傻，戳中我护丑的心窝。为什么叫丑蛾？这份丑意是我主观意识审美的产物，指的是被消费的非主流定义审美，本质区别于真丑。这种丑真的很吸引人注意，或者至少在我，购买者眼中是。到底什么是丑？什么是不同？看着这个猫玩具我感觉我被闪电劈了一道。这种一定程度上玩弄消费者的心理创伤贩卖“非美”（Anti-Mainstrain Aesthetic)的物品，玩得是真的狠。让我再感叹消费主义Daddy的野心和无情。

这样来看，137.87+-亿年前宇宙大爆炸的时候到现在，为了创造一只专门为猫创造出来的蛾子，人类到底做了多少荒唐事？猫狗从人类驯化野兽的农耕时代的产物，到今天进化成人类消遣寂寞的心理产物。人类既浪不虚名，羊人们很喜欢用自己建的框，自己套自己，但小猫咪其实只爱破布袋子里塞满的猫薄荷。人类很清楚，猫爱的不是玩具，是它的“瘾性”。那个玩具，等于我买给了自己。这样来看，我的猫、狗，我的蛾，都是人类野心和欲望生成的丑态。撇开艺术家创作的精神力不说，一个丑蛾背后需要的庞大社会运转能力重到模糊，如果地球真是程序建的..什么高维cpu才不会烧坏啊…到底啥样的能量能指引到丑蛾的生产？

靠我自己观察，社会的群体认知不完全来自于信息筛选疲劳，大量主流媒体对审美同化的洗脑，以及high-traffic social media interaction。换句话说，上面有老大哥，让你喜欢啥，你就得喜欢啥。大爆炸产生的星尘也没想到这个地球被一群糟老头子管理着.. 能明白人生而平等这个概念其实很难，daily struggle it should be，事实上，可以去讨论的事情有很多，问题不是开阀，是找阀门。

卖丑买丑确实不是什么新概念，但要学会定义什么是“真、丑”，创造的意图不同一定会影响结的果是不是个好“商品”。很多人以卖美的名义卖着丑.. 和卖浦西没区别，至少卖浦西自己知道自己在卖浦西，浦西很美好，文化糟粕不兴宣传啊。哎，没想到买个蛾，导致了对传统文化的冲击，社会价值流失，学会买丑真的很重要。大家都在一块大石头上在宇宙中漂浮着，天天吃着资本的屎，数着用生命时间换来的钱，转过身看着资本老爹要你拿命换丑蛾，你还换吗？

他真的不是蛾，是人性的符号。