展期 Period：
2024.3.22—2024.6.16
艺术家 Artist：
策展人 Curator：
地点 Venue：
前言 Foreword：
⽯头和故事，都是古⽼之物，迷⼈又沉默，等待被触知。
被绘画之笔触知，被⼼灵触知。
⽯头和⼤海如何交谈？
⽉光和宝⽯如何倾诉？
这⾥是⽯⾄莹构建的东⽅故事集，当我们漫步在展览中，就进⼊了⽯⾄莹的⼼灵视⾓，⼀起阅读海浪，感受有重量的轻盈，体会她如何⽤画笔触知世界。对于艺术家⽽⾔，绘画的本质并⾮制造图像，绘画有⾁⾝，有触感，有物性。她对世界有独⼀⽆⼆的理解，并⽤⾃⼰的⽅式和绘画语⾔将这份感受与理解转译在画布上，将这份触感带给观众。
观众在展览中将随着⽯⾄莹的画笔⼀同进⼊七个故事：“线条的故事”、“⾊形的故事”、“重量的故事”、“物性的故事”、“玻璃球游戏”和“化城喻”。本次“东⽅故事集”所呈现的，是⽯⾄莹如何理解线条、⾊形、重量、造像与物性。她笔下的世界与灵光，可以从任何⼀幅画开始，从任何⼀块⽯头进⼊。在叙事与⾮叙事之间，在虚和实之间，在⼼灵与想象之间，每⼀位观众都将收获属于⾃⼰的各个东⽅故事。这次的展陈呼应主题，是第七个故事。“化城喻”的圆形展厅激起阵阵涟漪，坐在涟漪座椅上的观众正⾝处于故事之中。这是⽯⾄莹的绘画之道，也是本次展览的化城之法，同时是给观众的礼物和游戏。
法国作家尤瑟纳尔的《东⽅故事集》成为这次展览的灵感来源。其中有⼀个关于画家的故事写于1936年，意味深长。故事中的画家⾯临⽣死关头，却依然沉浸于⾃⼰的绘画世界之中。“他画啊画啊，画中的⼤海漫过了皇宫⼤殿，”画家的朋友划着船来到他⾝边，说：“出发吧，去那波涛之外的国度。”
⽯⾄莹激起的涟漪在展厅中邀请观众：“出发吧，去那波涛之外的国度。”她亦钟爱这个故事的结尾：“他们消失在蓝天般的海洋⾥。”
展览泛着涟漪，似乎在回答：绘画是什么？绘画能提供什么？绘画能获得什么？本次展览的英⽂名是“Stones and Stories（⽯头和故事）”。东⽅故事集中，⽯头的数量和故事的数量⼀样，都是⽆限。因此玻璃球游戏可以⽆穷，绘画可以⽆穷。这是东⽅故事集的最迷⼈处，也是⽯⾄莹孜孜以求的艺术：是应⽆所住又⼼⽣万象，是物我两忘，⼀苇渡江。
⽂/沈奇岚博⼠
Stones and stories, both ancient and enchanting, remain silent, awaiting recognition. Recognition by a painter's brush, by a soul.
How do stones converse with the sea?
How does moonlight confide in gemstones?
Here lies the collection of oriental tales by Shi Zhiying. As we stroll through the exhibition, we enter the painter's mind. Together, we read the waves, feel the weight in lightness, and experience how she perceives the world by painting. For the artist, the essence of painting transcends more than imagery; it possesses flesh, touch, and materiality. With a unique understanding of the world, she translates her feelings and insights onto the canvas in her own artistic language, and shares this sensation with the audience.
Viewers will embark on seven journeys with Shi Zhiying's paint brushes: "The Story of Lines", "The Story of Shapes and Colors", "The Story of Weight", "The Story of Nature of Things", "The Glass Ball Game", and "The City of Illusions". The exibition "Stones and Stories" showcases Shi Zhiying's understanding of lines, shapes, colors, weight, figures, and materiality. To enter the world and aura created by her, the journey may start from any painting or stone. Between narrative and non-narrative, between reality and illusion, between mind and imagination, each viewer will recognize their own oriental story.
The stage design echoes the theme, making up the seventh story of the exhibition. The circular hall of "The City of Illusions" creates ripples, immersing viewers into the story as they sit on rippling seats. This is Shi Zhiying's way of painting, the magic of this exhibition, as well as a gift and game for the audience.
The inspiration for this exhibition comes from the Nouvelles Orientales by French writer Yourcenar. One story about a painter, written in 1936, carries profound meaning. Faced with life and death, the painter remained immersed in his own world of painting. "He painted and painted, and the sea in his painting flooded the palace hall." His friend rowed a boat to him, saying, "Let's go, to the kingdom beyond the waves."
The ripples stirred by Shi Zhiying sends an invitation: "Let's go, to the kingdom beyond the waves." She also loves the end of this story: "They disappeared into the ocean blue as the sky."
The exhibition ripples, seemingly answering: What is painting? What can painting offer? What can painting obtain? The English title of the exhibition is translated into "Stones and Stories" instead of the "Oriental Tales". In "Stones and Stories", the number of stones equals the number of stories, both infinite. Thus, the glass ball game could be endless, and painting could be endless. This is the most enchanting aspect of the oriental tales, and the art that Shi Zhiying tirelessly pursues: being without dwelling, yet giving myriad thoughts; transcending oneself, like crossing the river with a single reed.
Text/Dr. Shen Qilan
