我突然从夜间醒来

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突然醒来后的身体是否全都在？还是有些身体依旧遗留在梦中？所以我们只能看到它的某些部位。梦像画框切割着身体，而完整性本身就是对它的错误想象。如果弗洛伊德是对的，那么梦就会撕裂身体与意识的同一性，一副完整的身体属于理性的捏造，而只有在梦与白日之间的模糊之地，我们才能暂时感知到自身的隐晦与可能。

“你没看到我身上着火吗？”正因为梦境太过危险，所以我们逃进现实，编织一个关于自我的谎言，然后梦魇丛生：一枝被保鲜的花、水晶球、男士的领带、镜子里的手臂和心爱的猫……在耀眼的光芒中，它们无处可躲，各自黯然，只有在夜间的暧昧里，才从身体的附庸中脱离。既不发光，也不可见，只能感受。

这是对抗光芒的时刻，所以一切都会在模糊中显现自身暂时的模样，然后重新隐匿，逃出目光。这是对戈雅关于理性的翻转，形象依旧是清晰的，但醒来却无法再驱逐怪物了。

过分浓重且对比强烈的色彩本身灼烧着观者的目光，似乎某个危机时刻突然逼近，在层层叠加的色块与逐渐失控的形象中，隐藏着不可见但却能被感知的东西；而物在某个时刻的静默却让一切都显得清晰，它始终被安置在可控的构图之中，没有溢出。因此画本身成为一段无法拼贴完整的、可观的感觉。而也就是在这两者的张力之间，画作为自身得以凸显，我们被置于其中，但始终是不完整却开放的。

所以，不要靠得太近看那些模糊的油彩，梦里太危险，会灼伤眼睛；从夜间突然醒来，怪物们却依旧流连未返。我们都在其中。

 

                         —重木

 

 

Is the body all there after suddenly waking up? Or are some bodies still left in dreams? So we can only see some parts of it. Dream is like a picture frame cutting the body, and integrity itself is a wrong imagination of it. If Freud is right, then dreams will tear the identity of body and consciousness, and a complete body belongs to rational fabrication. Only in the vague place between dreams and days can we temporarily perceive our own obscurity and possibility.

"Can't you see I'm on fire?" It is precisely because dreams are too dangerous that we escape into reality and weave a lie about ourselves, and then nightmares abound: a fresh-kept flower, a crystal ball, a man's tie, an arm in the mirror and a beloved cat ... In the dazzling light, they have nowhere to hide, and they are gloomy. Only in the ambiguity at night can they be separated from the vassals of the body. It doesn't shine, it can't be seen, it can only be felt.

This is the moment to fight against the light, so everything will show its temporary appearance in obscurity, and then hide again and escape from sight. This is a reversal of Goya's rationality. The image is still clear, but when he wakes up, he can't expel the monster any more.

Too thick and contrasting colors burn the viewer's eyes, as if a crisis moment suddenly approaches. In the layered color blocks and the image that is gradually out of control, there are hidden things that are invisible but can be perceived. However, the silence of things at a certain moment makes everything clear, and it is always placed in a controllable composition without overflowing. Therefore, the painting itself becomes a complete and considerable feeling that cannot be collaged. It is in the tension between the two that painting stands out as itself, and we are placed in it, but it is still incomplete but open.

So, don't look too close at those fuzzy paints, it's too dangerous in the dream, which will burn your eyes; Suddenly woke up from the night, but the monsters still lingered. We are all in it.

                                                                       ChongMu

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