引力：从边缘人到爱

艺术对我来说一直是朦胧奇妙的，而艺术家更是让我好生敬仰，我羡慕他们的不羁和洒脱。还有为了创作的自由，有时甘愿清贫，这是我做不到的，尽管我常把匈牙利诗人裴多菲的那句“若为自由故，一切皆可抛”挂在嘴边上。

从驻馆这几个月和莫籽的交往，他给我的印象就是勤奋好学，肯于尝试和钻研，有自己的见解和信念。有时我更愿意视他为学习的榜样，因为我是一个过于随性的人，用通俗的话讲，我有些四肢不勤。

艺术是什么，对于我来说是个大问号，仅有的艺术知识也仅限于早年读的《莫奈艺术书简》和看了好多遍的《莫迪利亚尼》电影后了解的；以及对日本画家石田彻也那种人完全是作为物以及机器的延伸的感同身受；再就是今年在上苑艺术馆这几个月所接触到的。而我从莫籽兄弟所得到的就是艺术是一种拯救，一种爱之引力。

我一直想，为什么莫籽兄弟的油画作品多是各种拥抱的场景呢，其实如果听过他当初来上苑的分享会，你自会明白。我知道他是在用颜料色调书写自己的经历和种种遭遇，尽管有不少黑暗情绪掺杂期间，但并不妨碍一个阳光青年成长。是的，他像一颗种子破土而出。这都源于他对艺术的热爱，我感觉艺术在他生命里就是他的佛陀，给了他一片净土。所以他是幸运的，用他的话说是艺术拯救了他，让他开悟，改变人生轨迹。

他把这次个展的主题定为“引力”，在这里我解读为“爱”，我想他一直试图把自己一直欠缺的“爱”传递给别人，希望他们不要像自己一样匮乏，当然这种爱，不只是一种日常表述的普通的“爱”，也是艺术之爱，生命之爱。这里面包含有他的感恩和回馈，他在用“仅有的爱去抚平混沌”。他在用自己的作品拥抱世界，拥抱艺术，拥抱爱，他更希望把拥抱回馈给世界和当下。

莫籽所遇到的命运风暴，一样含有肆无忌惮的让人躁动的岔路，有沉默的太阳，有恐惧不安，有支离破碎，当然也有美好的诗歌和艺术，我想他会应对更加自如的，君子坦然处之，则随遇而安。

——车邻

车邻，青年诗人，出版有诗合集《在彼此身上创造悬崖》，翻译有《拉塞尔•埃德森散文诗选》等。

《踪迹02》，Trace02，27×39cm，纸本绘画，2019，莫籽Mos

The gravity of souls: from the marginal man to love

Art to me has been hazy wonderful, and artists are let me love to admire, I envy their unruly and free and easy.And in order to create freedom, they are sometimes willing to be poor, which I cannot do, although I often mention the words of the Hungarian poet dorfi, "if for freedom, everything can be thrown away".

During my communication with Mos during the past few months in the museum, I was impressed by his diligence, willingness to try and study hard, and his own opinions and beliefs.Sometimes I prefer to see him as a role model, because I'm too casual and, in layman's terms, I'm a bit of a quadriplegic.

What art is is a big question mark for me.My only knowledge of art is limited to the early reading of the art of monet and modigliani after watching many times.And Tetsuya Ishida, a Japanese painter, whose works show human empathy as an extension of objects and machines.Then this year in the shangyuan art museum these months contact artists.And what I get from Mos is that art is a salvation, a gravitation of love.

I have always wondered why Mos's oil paintings are mostly scenes of hugs.In fact, if you have heard his sharing meeting when he came to shangyuan, you will understand.I know that he is using paint to write his past and all kinds of experience, although there are a lot of dark emotions mixed in his works, but it does not hinder a sunny youth growth.Yes, he broke out like a seed.It all comes from his love of art. I feel that art is the Buddha in his life, giving him a pure land.So he was lucky, in his words, that art saved him, enlightened him, changed the course of his life.

He chose the theme of this solo exhibition as "The gravity of souls", which here I interpret as "love".I think he's been trying to pass on the love he's been lacking to others, hoping they don't lack it as much as he does.Of course, this kind of love is not only a common "love" in daily expression, but also the love of art and life.There is his gratitude and feedback, which he USES "his only love to heal the chaos."He is embracing the world with his works, embracing art, embracing love, and he wants to give back to the world and the present.

Mos encountered by the fate of the storm, the same contains unbridled let people restless fork road, there is silence of the sun, there is fear, there is fragmentation, of course, there are beautiful poetry and art.I think he'll be more comfortable with it, and the gentleman will take it as it comes.

——Chelin

《踪迹03》，Trace03，27×39cm，纸本绘画，2019，莫籽Mos

活物

我们活在一个布满肌理的世界，它们大多时候静静地围在我们的眼睛和身体周围，所营造的是一种充满无意义的平凡的氛围，但没有它们，我们可能就像身处外太空了，无所依靠，无所凭借，这样的话人会构建出什么样的感知体系呢？肌理是随机的，就像天上的云飘着飘着就有规律地形成排山倒海之象，就像动物集体迁徙时在地球外壳上蔓延，就像一阵风暴吹过后的沙漠；肌理也是刻意的，就像人类建筑的路面和围墙，就像大片的庄稼和码放整齐的自行车；肌理其实也是构建并承载历史和记忆的。如果说每个陌生人出现在我们面前的那一刻都有一个出场方式，我想莫籽就是从一面平淡无奇甚至有些许苔藓、裂缝、灰尘、划痕的石头墙上随着夕阳快要消失的微弱光影而小心地出现在我面前，这满世界的人，很多人于我们而言并不存在，莫籽用他满身细小、锋利又规律的肌理宣告了他的存在。

肌理有一种静谧的属性，莫籽在不得已的时候尽量萎缩地游走过生活的场所，他更多的时间用于躺进纸和画布里，小心而轻柔地幻化到肌理中的密集的线条和点里，那些线条和点看起来如此拥挤，但又想彼此尊重互不侵犯，于是就码了一层又一层的空气，一切井井有序地进行，后来就越来越厚重，既不沉闷也没有坍塌的危险，莫籽尽量拉长幻化的时间，因为他渴望存在，并渴望存在的一切强化他，于是拿起了一罐啤酒。

夜晚，狭长的灯柱下，他顺应着各种各样的语言肌理而改变线条的节奏，音乐提升了他生长肌理的速度和技巧，当灯光被铺平在石头路上，他开始旋转环绕，抛洒肢体就像抛锚一样，直到他慢慢觉得他好像真的靠岸了，不知道是否还要流浪，但此刻岸上的气温如此适合生长，他就找到一处跟过去差不多一样的石头墙住了进去，也就是我看到他出场的那面石头墙。气温改变了他，他就在纸上绘制了更丰富的季节，以及更多的活物，因为开始画活物，他就只能跟着活物的踪迹而变得活泼和俏皮起来。回想过去，他在消融自己，沉没于贫瘠的大地和干渴的沙漠里，而现在他在新土壤的肌理里充满了多变的形状，并慢慢立于纸面，有一天，莫籽发现立于纸面的自己开始寻找自己的目光，他开始躲闪，因为他来自于肌理的世界——一些碎石拼凑起来的、平凡又有点丑陋的、阴暗又冰冷的墙，季节会轮换，他认为他总会轮回到最初的模样，但此刻，纸上的自己开始给桌前的自己默默上色，颜色越来丰富，用轻柔的毛笔，用尖细的硬笔，用刺眼的刮刀，用丰富的手法让桌前的自己体验了手术般或按摩般的痛苦和快乐，他起初不是主动的，但现在已经被动地从肌理世界里分离了出来，他成为了肌理世界观望的风景，一个美妙绝伦的活物。

季节会轮换，这是自然也是历史的规律，历史最后的状态还是贴近和融为肌理，就像那一排排密密麻麻的字被人逐步退却观望时变成了一排排线和一堆堆点，而，当下的观者，就像一个庞然大物，以微观的方式去看这些字时，肌理的世界又会慢慢分离出鲜活的生命，肌理世界和它分离出的活物相互依存，随着季节的节奏时而沉寂时而活跃，莫籽在不断地绘制过程中已然参透了变化里蕴含的永恒，他穿越了孤独，灌注了浩瀚。

——秦姣姣

秦姣姣，80后女画家，2007年毕业于佳木斯大学，2007年至2010年在798艺术区和宋庄工作生活，现居广州。

《踪迹06》，Trace06，27×39cm，纸本绘画，2019，莫籽Mos

Living object

We live in a world full of texture, the world quietly around our eyes and body, it is building a meaningless atmosphere.But without them, we might as well be in outer space, unsupported.So what kind of perception systems do people construct?The texture is random, just like the clouds floating in the sky and forming large mountains regularly.Like the spread of animals on the earth's crust during mass migration, like a storm blowing through the desert.The texture is deliberate, like roads and walls built by humans, like fields of crops and neatly arranged bicycles.The texture is actually constructing and carrying history and memory.If every stranger appears in front of us at the moment there is a way to appear, I think Mos is from an ordinary, even a little moss, cracks, dust, scratches on the stone wall with the sunset fading light and carefully appeared in front of me.There are so many people in the world, many of whom do not exist for us.Mos announced his existence with his tiny, sharp, regular texture.

The texture has a quiet quality.Mos minimizes his social encounters when he doesn't have to, laying more time on paper and canvas, carefully and gently transforming into dense lines and dots.The lines and dots looked so crowded, yet respectful and noninvasive, that they created layer upon layer of air, and everything went smoothly.Then it got thicker and thicker, not dull or in danger of collapsing.Mos tried to keep the illusion as long as possible, because he wanted to exist, and everything he wanted to exist reinforced him, so he picked up a beer.

At night, under a long lamppost, he changes the rhythm of the lines in response to a variety of language textures. Music increases the growth rate and skill of his textures.As the light spread over the stone road, his body began to spin, his limbs soft and free.Until he slowly felt as if he had landed, and then wondered if he would continue to stray.But now the temperature on the shore was so good for growing that he found a stone wall almost the same as he used to be, the same one I saw when he came out.The temperature changed him, and he painted more seasons on paper, and more living objects.Because he began to draw living objects, he could only follow the tracks of living objects and become lively and playful.In retrospect, he was melting himself, sinking in the barren land and thirsty desert, but now he was full of changing shapes in the texture of the new soil, and slowly stood on the paper.One day, Mos found himself standing on the paper and began to look for himself. He began to dodge, because he came from the texture world -- the ordinary and a little ugly, dark and cold wall put together by some rubble.The seasons rotate, and he thinks he always returns to his original form.But now, standing on the paper, he began to give another he quietly color, color more rich.With his soft brush, sharp hard brush and sharp scraper, he experienced the pain of surgery and the pleasure of massage in such a rich technique.He was not active at first, but now he has been passively separated from the physical world, and he has become a landscape of the physical world, a wonderful living object.

Seasons rotate, which is the law of nature and history.History, in the end, presents itself as a melting fabric, like the dense rows of words, which, as man retreats, become rows and rows of lines and piles of dots.However, the current human, like a giant, in a microscopic way to read the words, the texture of the world will slowly separate from the fresh life.The physical world and the living objects from which it is separated are interdependent, sometimes silent and sometimes active with the rhythm of the seasons.Mos has penetrated the eternity contained in the changes in the process of constant painting. He has traversed the loneliness and infused the vastness.

——Jiaojiao Qin

《踪迹07》，Trace07，27×39cm，纸本绘画，2019，莫籽Mos

日暮乡关

请Mos发来他最新的纸本作品：一枚枚恰如生命之始的卵、精，在洪荒中游弋、组合。看似无序，始然有序！

在被震动的同时，远在马德里郊外的我，心底还是泛出丝丝的隐伤。这隐伤，是关于Mos，也关乎生命的。

初识Mos是在拉萨城我的咖啡屋中。那日我正在作画，进来要了杯咖啡的他是带有种浓厚忧郁的。

“我也在画画，在拉萨代课。”Mos的声音是低暗的。

每天接待那么多客人和‘慕名’而至的国内外艺术家，那次我未能跟Mos深入交流。及至我们同时获邀进入北京的上苑艺术馆做驻馆艺术家。在那晚他的介绍会上，是他不愿碰触的过往，让我有些潸然。

Mos的作品，渗透着原初的乡愁。这个或许他本人都没意识到。

那一个个拥抱，交织在一起的长臂和掩饰了五官的脸庞，及至藏地的有关信仰的浓重，也变为他画笔下关于生命起源的简单符号。这也引起了在藏地生活了十三年之久的我，深深的思索。

艺术，无论怎样发展，有多少派别、风格。最终还是离不开一个‘情’字。就像前日在巴塞罗那毕加索博物馆看了大师大部分作品后，突然悟出作品中时间的次序和隐藏的大师之面！

此前我的绘画境界也仅是停留在要画什么？而现在，则进入了画布上有什么的自由境地。

“它在那儿，就一直在那儿。”

只要围绕生命和情，你的作品就一定会有血有肉，尽早地形成自己的风格。或可立世。

籍此篇短文，预祝不一般的Mos，北京首次个展成功！

让我们共同期待！

扎西德勒！

——田勇（白玛次仁）

田勇（白玛次仁），小说家、诗人，画家。创建拉萨诗歌研究院。主编《西藏诗歌》。余杭画院副院长。西藏大学文学顾问。著有多部长篇小说。曾获首届诗歌约伯奖。唐蕃古道文学奖。柔刚诗歌奖提名，张坚诗歌奖提名。作品在台湾出版。行销世界华人地区。长篇《拉萨浮生》，《红雪莲》剧本已在改编。

《踪迹08》，Trace08，19×24cm，纸本绘画，2019，莫籽Mos、

Native land below dusk

Mos latest paper works: each piece is like the egg and essence at the beginning of life, swimming and combining in the prehistory.It seems disorderly, but only in order!

At the same time being shocked, far outside Madrid, my heart is still a trace of hidden injury.This hidden wound is about Mos, and also about life.

I first met Mos in my cafe in Lhasa.I was painting the other day when he came in and ordered a cup of coffee.He felt a deep melancholy.

"I paint, too. I teach in Lhasa."Mos sound is low and dim.

I received so many guests and artists from home and abroad that I failed to communicate with Mos deeply at that time.At the same time, we were invited to join shangyuan art museum in Beijing as resident artists.At his introduction that night, it was the past that he didn't want to touch, which made me very sad.

Mos's works are permeated with the original homesickness.He may not even realize it.

Every embrace and face without facial features, as well as the strong breath of faith in Tibet, have also become simple symbols about the origin of life in his painting.This also reminds me of living in Tibet for 13 years, deep thinking.

Art, no matter how to develop, how many factions, styles, ultimately, or inseparable from human feelings.Like the day before in Barcelona Picasso museum to see the works of the masters, suddenly realized the order of time in the works and hidden face of the masters!

Before that, my painting state was only to draw what?Now it is free of what is on the canvas.

"It's there, it's always there."

As long as you surround yourself with life and emotion, your work will have flesh and blood.Develop your own style as early as possible, or stand out in the world.

With this essay, I wish the unique Mos solo exhibition in Beijing a success!

Let us look forward to it together!

Good luck!

——Tianyong

《踪迹12》，Trace12，19×24cm，纸本绘画，2019，莫籽Mos

从架上绘画到“引力”装置的随想

这次个展的作品都是今年4月份驻馆以来的所有成果。从艺术形式来说，它们是由装置和架上绘画组成的。而架上绘画又分开了三个系列，分别是“命运”素描系列、“时间的消释”油彩系列和“踪迹”纸本系列。这三个系列无论是从材料、技法和语言上面来说都是毫不相干的，但是从我个人的精神层面来说，它们是连在一起的，隐含着一个先后的顺序。

先是从黑白开始，这是命运风暴的狂肆，寓意着在漫长的生命里面的某段挣扎和痛苦的时刻。再往里面是关于爱与时间的油彩作品，一个拥抱对应的是一种引力，有家庭的引力，有朋友的引力，有爱人的引力等等，生命就是在各种引力的作用下不停的运转。最后即使岁月把画面上的颜色剖落掉，但灵魂之间的牵引依然紧扣。“踪迹”系列说的是当一段生命经历过痛苦与爱后，他选择了与大自然拥抱，回归到原野的状态。此系列也是我特意从后山采集桑葚作为原料绘制而成，是对原始生态的致敬。

此刻，我想花更多的时间阐述这次个展的唯一一个装置作品，它是我在两天的布展时间里突发奇想的一个作品。它的名字叫“引力”，与个展的主题同名。它是一个会消失的作品，只有5天的生命期存在于物理世界，犹如坛城沙画一般消纵即逝。它的构造由一根立着的白色柱子和一根形态粗犷的树干开始，作为装置的两个端点，没有第一和第二之分，只是两个独立的个体。然后上面各放一盏蜡烛，有点像西藏寺庙里的酥油灯，寓意的是两个不同的灵魂。他们看似毫不相关，但冥冥中会有一种引力使他们之间产生某种纠缠。而这种力量正是由地面上的这个曲折迂回和繁复无常的图案表现出来。图案采用了棉线这种材料，在地上一点一点的铺开、拉伸和绕弯，然后再用白粉笔在空白的地方以线的形式进行补充，这一高一低的视觉效果，使得整个引力磁场有了更好的纵深感。这种形象化了的引力暗藏在灰暗的地面上，以致有些现场观众注意不到而踩了过去，扰乱了整个磁场原有的纹样，制造了更多两个灵魂之间链接的坎坷。这种意料之外的东西不就正好阐述了这两个灵魂的命运多舛吗。

写到最后，我开始意识到一个非常不好的方面，那就是我已经把观者引向了我觉得重要的东西，而那些没有被写下来的就忽略过去了，可能就是那些被忽略掉的才是对观者至关重要的。从某种意义上说我是在做误导的工作，所以我非常希望能看到或听到更多不一样的解读，这肯定是属于你个人的美妙的时刻。

谢谢欣赏！

扎西德勒！

——莫籽

《踪迹12》，Trace12，19×24cm，纸本绘画，2019，莫籽Mos

Random thoughts from easel painting to "The Gravity Of Souls" installation

The works in this solo exhibition are all the achievements since I entered the museum in April this year.In art form, they consist of installations and easel paintings.Easel painting is divided into three series, namely "Destiny" sketch series, "The melting of time" oil color series and "Trace" paper series.These three series are totally unrelated in terms of materials, techniques and language, but in terms of my personal spiritual level, they are connected together, implying a sequential order.

First from black and white, this is the fate of the storm raging, meaning in the long life of some struggle and pain moment.Then there are the oil painting works about love and time. A hug corresponds to a kind of gravitation, such as the gravitation of family, friends and lovers. Life is constantly running under the effects of various gravitation.Finally, even if the years on the picture of color off, but between the soul traction is still tight."Trace" series is about when a life has experienced pain and love, he chose to embrace nature, return to the state of the wilderness.This series is also specially drawn from mulberry fruit collected from the back mountains as raw materials, which is a tribute to the original ecology.

At this moment, I would like to spend more time on the only installation work in this solo exhibition, which is a piece of work that I came up with a whim during the two-day exhibition arrangement.It's called "The Gravity Of Souls," after the theme of the solo exhibition.It is a vanishing work, with only five days of life in the physical world, fading away like a sand painting in a temple.Its structure starts with a standing white column and a rough tree trunk, as the two ends of the device, there is no first and second, just two independent individuals.And then each of them has a candle, kind of like a butter lamp in a Tibetan temple, symbolizing two different souls.They seem unrelated, but somehow there is a gravitational pull that causes them to become entangled.And this power is expressed by this zigzag and capricious pattern on the ground.The pattern uses a material called cotton thread, which is spread, stretched and twisted on the ground bit by bit, and then supplemented with white chalk in the form of a line in the blank space. This high and low visual effect gives the whole gravitational field a better depth perception.This visualized gravity is hidden on the dark ground, so that some of the audience will not notice and step on it, disturbing the original pattern of the whole magnetic field, creating more bumpy links between the two souls.The unexpected just explains the fate of these two souls.

In the end, I began to realize a very bad aspect, that is, I have led the audience to what I think is important, and those that have not been written down will be ignored in the past, maybe it is those that have been ignored that are crucial to the audience.In a sense I'm doing a misleading job, so I'd love to see and hear more different interpretations, and it's definitely a wonderful moment for you personally.

Thanks for watching!

Good luck!

——Mos

《踪迹17》，Trace17，19×24cm，纸本绘画，2019，莫籽Mos