“体向·关系”这一系列作品是“体向”系列作品的延续，整体风格一脉相承，作品所呈现的是我关于艺术诸多方面的思考，包括：为什么这样画；怎么画；探索的价值；坚持的意义。我的关注点是人的内在世界，以身体元素组构画面，以求挖掘人真实的内在景观。 

减法，是我在绘画语言方面一直运用的手段，就像在拆一个房子，到最后只剩下几根不能再舍去的脊梁，然后以我简练的眼光重新去测量和架构，或许它们看起来只能够容纳躲雨和休憩的小鸟，但它可能是一个瓜棚，环绕它周围的大片的庄稼和天空才是我想要的内容。 

这批作品运用了黑白灰调，当没有了丰富的其他色彩，画面的空间转换关系就显现出来了，一根线尖锐地把画面分割开来，两个陌路相逢的人开始在相邻的舞台表演，他们有时候互相介入对方的领地，有时候并不介入，彬彬有礼，或近或远，大多时候双方的关系是失衡的，因为碰到两个相同的人并用相同的方式互动是很小的几率。我喜欢在画面里铺开时间线，色调的变化、线的节奏的急促和缓慢以及形状的变化都暗合了时间。 

没有了镜子，我们用眼睛看到的自己只能是躯干和肢体，确切说，是肉，它们每天被我们所支配，我们也体验着它的沉重感，它既不能逃离我们，也没法脱离骨干的控制，所以，我喜欢解放它们。画布就是我们观察自己身体的所及之处，肉体在这不足一平方米的视力范围内开始躲藏、扭曲变形、相互交叠、拼接断裂、翻转蔓延......观摩自己的游戏结束了。现在，画面上两个身体在互动，更为复杂，就如同人与人相处的现象，如果不在密切接触中阴阳交替，就会在时间里四季轮换，这就构成了人的社会性。 

“体向·关系”这一阶段作品的创作基础和方向不太合拍，因为之前更多的以形式上的探索和实验为主，而这一阶段就追随着现实的脚步玩了一圈游戏，在一个不断呐喊创新的时代，我认为坚守的过程中必然有某种悄然生长的气息引领着我进入下一个密道。

——秦姣姣

This series of works titled "Body Orientation & Relationship" is a succession series of "Body Orientation", and the overall style is consistent in each. These art pieces represent my thinking relating to various aspects of art, including my motives to draw this way, method of drawing, the value of exploration and the meaning of persistence. My focus is on the inner world of people, and the body elements constitute the image, in order to directly explore the real inner landscape of people. 

Subtraction is a method that I always use in my painting language, just like demolishing a house, at the end only a few elements stick to the backbone, and then I use my vision to re-measure and re-structure in a concise way. Maybe all that is left in this world is a small house able to provide shelter for the birds to rest. This place could be surrounded by the watermelons field, the vast field of crops and sky and that is precisely what I am interested in. 

The art works of this series use black and white and gray tones. When there is no rich color, the spatial relationship of the picture is emphasized. A sharp line cuts the frames apart, like two strangers starting to perform together on a stage. Sometimes they step into each other’s territory, sometimes not, politely touching upon each other’s space, near or far. Most of the time the relationship is out of balance because there is a little chance of meeting the same people and interacting in the same way again. I like to stretch out the time in the painting. The change of color, the speed and the tempo of the line and the change of shape all hide the time. 

Without mirrors, we can only see ourselves with our eyes as bodies and limbs, or rather as flesh. These elements of our bodies at our mercy every day, and we experience their heaviness, and they can’t escape us, they can’t escape the bones, so I like to liberate them. The canvas is the place where we observe our bodies, beginning to hide, distorting, overlapping, splicing and breaking, overturning and spreading within the visual range of less than one square meter.The self-observation is over. Now, the two bodies are interacting in the image, which is more complex, like the phenomenon of people getting along with each other. If they do not alternate in close contact, they alternate in the seasons, and this constitutes human society. 

The creation basis and direction of "Body Orientation & Relationship" series of art works are  little out of touch with each other, because the previous works were mainly explorations and experiments, and this stage plays maverick with the reality. In an era of constant innovation, I think that there must be some quietly growing breath leading me to the next secret path.

——Jiaojiao Qin

译者:莫籽 Irina