广西艺术家雷敏作品中的场景充满超自然的错觉，画面具有一种不可思议的戏剧特性。他常常以一种逆反于惯常的艺术感受来进行创作，天高任鸟飞，似孩童的呢喃语境，掀开人性最深层的面障，形象的男与女荒谬组合，放飞向往自由的天性。
    
    艺术创作的最高境界也许就是任凭想象自由地飞舞：挥霍灵感，忘记技巧；勇于颠覆，不断创新；无所顾忌，飘飘欲仙……
    

展览时间：2006年7月23日至8月7日15：00-23：00
地点：顶层画廊，南京东路479号先施大厦12层
电话：021-6352 0256  www.topart.cn
    

                             Fly---Lei Min Oil Show
    
    Originally from Guangxi, Leimin’s works are full of amazing dramatic humor and he is definitely good at drawing inspration from bucking the system. The supernatural setting of Lei’s painting are dramatic.
Lei’s painting series is flooded by the imagines symbolizing an absurd weaving between man and women, which in their usage of configuration and colors appear to show the dualism of sexual relationships, “Although the images look confusing and oppressive, the surrealistic scenes surrounding them provide the same picture with a dramatic feeling.” “I really hope that my paintings can bring people another level of sense. which tells that there is always unknown and mysterious presence behind our mundane lives.” Said Lei. From this point, sex looks mors like a bridge leading human being to an unearthly garden.
    
    Individuality in the art world today is as important as it is with other fields, and Lei defines his own style as “without rhyme or reason.” He is still unknown but believes that sooner or later the world will accept his particular way.
    
Exhibition Period: July.23th --- August. 7th, 2006  (15:00-23:00)
Venue: The Room With a View, 12th F. No. 479 Nanjing Rd (E), Shanghai
More info:021- 6352 0256   hollyzhao@online.sh.cn   www.topart.cn 
    

                                  画家手记---雷敏
    

1， 形象的男与女的荒谬组合一直是我图式中惯用的做法，无论从形态以及色彩的运用似乎都在暗示着性关系的双重性。这些人物不同的性方式形象化地给予画面一种意淫的错乱和苦闷，然而场景的超自然的错觉却又赋予画面一种不可思议的戏剧性特性，体现了一种对正在进行的仪式的感受。就像在萨满仪式中，一个化妆成女性的男子仿佛要摄入女性本体，并试图治愈有关的伤病一样。
    

2， 我图式的母题----性（又名鸟鸟），迄今为止我再也找不出比“鸟鸟”更加适当的词来暗喻“性”的标题了，那种带有孩童般的语境，以及不伤大雅的行为意识，很像永无休止的唠唠叨叨的梦呓一般。它浓缩的象征具有更广泛、更真切的指涉，它成为一种亲密关系之下的暗示语言。
    

3， 一件作品在很大程度上创造的因素总是第一位的，我常常以一种逆反我的惯常的艺术感受来进行创作，我不想作品归平和、正统的一类，我并不是绘画圈内的人，但不是外行，所以我无所顾忌。虽然我的想象与技法远没有达到我所追求的效果，不过这仅仅是时间问题。
    

4， 图解运用语言，联系与含义沿着一条笨重的路线输送意象，而理想是绕过认识上的造作状态直接攻入客体生命的核心。在很大程度上作品是通过大脑向人们讲述一个漫长的讽刺故事。
    

5， 涉及性的艺术实践总是某种先进和富有挑战性的东西。我的图式并非是要表现男人和女人的性特征，而似乎是在认可和否定性特征之间徘徊，我画中的人和动物无刻不在我亲自的设定中，展现某种自恃，而自恃又含有莫名其妙的侵略性，异乎寻常的重要意义在于那种潜伏在表层之下，以奇怪的形式呈现出来的东西以及那些看起来离“性”最远的运动模式能带给人何种的思考？
    

6， 把性能量与人现代社会秩序的规训特点相对立的任何观点不会有新颖的价值，把比较怪异的或非传统的性形式为先锋，并利用这个先锋打击正统观念的堡垒直至其屈服也不是明智之举。如果可能的话衍生于这样的一种意识，仅决定性因素是对作出选择的语境和行为环境的意识，它必须不仅提供一种不经意的都市主义。尤其是在性本身固有的其他问题究竟有多少存在的可能性。包括性别差异和纯粹关系的伦理学等问题，性如果能得到妙不可言的展现，的确能使人置身在“生活在别处”的异样感觉。
    

7， 我的画面总是或多或少地掺和着幽默和漫画的气息。我从不打草图，而是让形象直接进入画面，如果在画一幅图时必须打草稿的话，我难以想象能否继续完成下去。在我看来，哪怕这一点点的重复都可能动摇我最初的动力。我是一个易变的人，一幅画从开始到完成，我真的说不清还有多少与原来的构想有相似之处，也或许是我对图形要求过于苛刻，经常做出的一种貌似“颠覆性”的举动，尽管多数情况下是徒劳的，但我依然坚持着这样的习性。
    

                                  Expecting to be inexplicable
                                                               By Jun Wu

The interest towards Guangxi artist Lei Min was kindled by his seemingly strange works, which are constructed form unusual articles and take on a surrealistic look. These days, his series named Qi Xi (named after the traditional Chinese Lover’s Day, August 11 this yesr) is going to be shown in Shanghai. When the interview was finished, he had successfully managed his goal of remaining to be mysterious or in fact, inscrutable, leaving us with more questions than before.
    

Lei was very frank concerning his experience. “After I graduated from Shanghai Drama Academic in 1985, I began a ten year business career in Shenzhen, the most exoteric city of the time. During that period I worked in interior decoration, beauty salons and even medical clinics.”Through he returned to his hometown without becoming a millionaire, he confessed that China’s economic reform has affected him strongly. “That ten year’s experience keeps influencing me in my creative process and through my career as an artiest began only 5 years ago when I returned to Nan Ning, Guangxi Province, art creation to me is always as familiar as part of my life, thanks to a seemingly inconsistent but in fact continuously enriching youth.”
    

Lei’s painting series is flooded by the imagines symbolizing an absurd weaving between man and women, which in their usage of configuration and colors appear to show the dualism of sexual relationships, “Although the images look confusing and oppressive, the surrealistic scenes surrounding them provide the same picture with a dramatic feeling.”
    

When the artiest was asked about his paintings’ conception and meaning, he refused to give them a clear definition, saying that his intention is to allow those who, by chance, experienced similar events as him to resonate. “A painting should not necessarily be understood by everybody, because different people have different life styles; but all life, in a way, is homologous, and I am more willing to let the audience analyze the underlying meanings at their own will.”
    

he holds the same attitude towards his “Qi Xi” series: “Probably it’s a name matching with time, but the original intention for it is no more than a name for my subject seriously depicting the perplexing relationships between two sexes.” It is indeed Lei’s emphasis, and he has been trying to declare it experimentally. “I really hope that my paintings can bring people another level of sense. which tells that there is always unknown and mysterious presence behind our mundane lives.” From this point, sex looks mors like a bridge leading human being to an unearthly garden.
    

Individuality in the art world today is as important as it is with other fields, and Lei defines his own style as “without rhyme or reason.” He is still unknown but believes that sooner or later the world will accept his particular way.