史津华Carle Shi个展“激情火花”将于2010年10月21日开始在今日美术馆的3号馆展出，展期为2010年10月21日至2010年10月26日。
史津华Carle Shi的“激情火花”系列作品，突出地展现了她在现代美学上的研究成就。
史女士在联合国展出的作品，其具象和抽象相结合的理念得到了人们高度赞赏。此次在今日美术馆展览的作品《丛军》和《自画像#1》进一步自由地解放了她自己的绘画理念，找到了属于她自己的个人风格。她的作品以点、线、面的再发展突出地将人体分开再重新组合，并分别在不同的几何形状上以静止的点、椭圆形，和气泡这三种图像符号隐喻情感，挑战性地赢得了她的独创性。艺术家用她独特的色彩语言，温暖的调色，和冷色图案真实地渲染，并平衡了全部作品的主旋律。
史女士的作品“翡翠眼睛”强化了她独特的艺术语言、理念，创造了优美的曲线，将抽象与写实相互交织融合。画中那双充满神秘感的眼睛，其深沉又活泼的气息令观者不禁驻足良久。史津华Carle Shi没有任何刻意地去描绘，只是在自由地挖掘灵感，试图唤起真实的情绪，让情感再现。
另一幅画《紫罗兰幻想》，蓝色和紫色相平衡，画面中球体像滚动的、抽象的泡沫，还有画面中的眼睛，或睁开或闭上……各元素在组成时构成了视觉上的冲力，且色彩相互制衡，在冷静和激情之间，留下了美。
史津华Carle Shi的作品，朝气蓬勃、淋漓尽致地展现了她在色彩学上的认识，并在色彩上寻求到了与情感紧密沟通的可能性。她准确地表达了人们的思维、情绪和情感。当然，每一个观众都会有他们自己的情感经验去寻找色彩，但至少可以说，史女士的艺术作品，有话要说。
M. Lavko 纽约市2010年10月
Carle Shi’s “Passion Spark” series of paintings highlight her most recent aesthetic approaches.
A blend of her Spherical series of works which was shown to much acclaim at the United Nations in New York City, and her more painterly figurative works come together in her portrait collection. With her painting of “A Friend” and “Self Portrait 1” she has liberated her more static spheres to sets of orbs and ovals that energize the images, and whose patterns represent the non-static quality of life. The usage of multiple planes and distances to the subject further add to heightening visual tensions. The balance of realistic renderings of the portraits with a full palette patterning of warm and cool colors underscore the oeuvre’s leitmotif.
Other artworks from the set possess variations on the theme. The monumental “Emerald Eyes”
painting has an all over composition and abstraction creating a pleasing curvaceous quality. The
background of the work shows a pair of transfixing, mysterious staring eyes. Any grand designs are left to viewer discretion, as Ms. Shi does not have any overt environmental agenda with “Emerald Eyes” and says she’s simply working to try and evoke emotions. Another color dominant variation from the series is “Violet Visions”. Royal blues and vivid purples anchor the image. The recurring motif of orbs float like bubbles giving a kinetic essence to the abstraction and lighten the diagonals charging across the painting. Other eyes, whether open or closed, dot the composition and become focal points because of their relatedness. Like the portraits, the colors serve to counterbalance each other and raise the level of viewer experience.
The mixing of strong colors add to Ms. Shi’s attempts at communicating emotion through color. When talking with her about the series and her thoughts, I discuss the belief in some critical theory circles how color can more accurately represent how we feel and communicate emotion, then verbal or written communication. So, a reaction to a painting with color gets at the essence of emotion versus pages of description or lengthy analytical conversation. Of course, every viewer will have their own emotional experience to looking at colors, so a universal application of the principal is challenging to say the least, yet Ms. Shi is working on her painterly mode of communication, and she has something to say.
M. Lavko, New York City, October. 2010
【编辑：主编】
