生

如同吳華的自述，對于一個與物理現實無法脫清糾葛的人而言，這是她的心靈日記，它從灰暗的日常中萌芽、生長、纏繞、愈合，在現實中“掙扎求生”而“釋放重生”。

“生”的圖畫日記會是什么樣的面貌？它可以“構成”（construct），它是有關建構的；可以“作圖”（draft），它是一絲不茍的經營；可以“描繪”（draw），它是關于物質形態的呈現的；可以“渲染”（render），它是關于事物無限彌漫的表象和質地的，最后才是“繪畫”（paint） ——吳華的“繪畫”恰恰游離在四種意向之間，它追隨著藝術家的多種身份和心緒而變化，就像有機生命本身一樣呈現出不同的面貌，并不囿于某種固定的風格。

亨利·佛西隆（Henri Focillon）說，風格會隨著歷史的發展而變化，只有藝術形式的“生命”保持著連續性，它貫穿了空間、心靈、物質、時間的王國。對于吳華這樣有著多種訓練的藝術家而言，空間、心靈、物質、時間也就是關于建構，運思，描摹，鋪陳——她用“繪畫”中一以貫之的“生命”將它們統合為一。

SHENG

By Ke Yang Tang

The character\"生（Sheng）\"embodies an array of meaningsincluding life，birth，growth，rawness，boldness， and so on.

This is a diary of Wu Hua as afugitive from reality as she introducesus to her search for growth， healingand rebirth.In short，this is her searchfor \"Sheng\".

In the attempt to manifest\"Sheng\"， one could construct itsstructure，draft its organization，drawits body， or render its impressions. YetWu Hua's paintings linger betweenthe four techniques； they are notconfined by any of the four， yet theyfollow the ever-changing identitiesand emotions of the artist - like theinfinite forms and presentations oforganic lives，they are not boundedby any singularity.

Wu sees space as structure， spiritas the exercise of the mind， material astracing， and time as arrangement -she combines these elements with the\"life\" of painting. Unlike architectureillustrations， Wu's strokes exceed the limits of color， composition and shape ；they create a space， a projection ofthe artist' sinner being ； they mapout the nature's paths， and bring\"formation\"through the journey oftim

Henri Focillon once said that thestyle of art changes with time，butit is the life of the artistic form thattranscends space， spirit， material， andtime.Wu sees space as structure， spiritas the exercise of the mind， materialas tracing， and time as arrangement - sheintegrates these elements withthe soul of painting and projects herinner being with the strokes of herworks.