“Infinite Repetition” presents a number of works by Autumn Lyn and Ouma from past three years. The exhibition examines how the two artists come to terms with the expansiveness, complexities, and pains of life through art. Abstract and meditative, the works communicate innate understandings of the interconnectedness between living things. Ouma’s artwork is ever-expanding, while Lyn’s artwork returns upon itself, repeating the same form. Both are modern prescriptions to understanding the world: Ouma takes a holistic interpretation of the interconnectedness of living creatures, while Lyn returns to the moment as the source of life.

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   “无限循环”展示了林景秋和奥玛过去三年的一些作品。该展览探讨了这两位艺术家如何通过艺术来解决生活的膨胀，复杂和痛苦。这些作品抽象而冥想，传达了对生物之间相互联系的内在理解。欧玛的艺术作品不断扩展，而林的艺术作品也在不断重复，重复着同样的形式。两者都是理解世界的现代药方：欧玛对生物的相互联系进行全面解释，而林则回归生命之源。

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Autumn Lyn "Shape of lives", 240 × 150 × 17 cm, Wooden frame, Ceramic

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  Ouma’s life work is an infinite scene: an unraveling scroll composed of tiles with patterns evolving in response to their neighbors. As a former veterinarian, Ouma’s vision of the world is informed by life under the microscope. There, the codependence of individual cells that make up complex organisms mirrors the simple behavior of life on Earth visible to the naked eye. The work exhibited in “Infinite Repetition” is the Phylogenetic Tree—an ongoing project started in 2017 based on the genetic evolution of living species. Errant lines wander from one page to the next, outlining bulbous spotted amoebas with wriggling pili. Bold, cheerful colors bind individual cells into “families” that touch and overlap. If one painting represents a single cell, together they become a growing, multicellular organism that depends upon its neighbor and family for definition and survival within the world. Ouma’s evolving artwork is open to viewers causing irreversible changes to the whole, which ultimately connect viewers to the Phylogenetic Tree.

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   欧玛的生活工作是一个无限的场景：由瓦片组成的解开卷轴，其图案随着他们的邻居而变化。作为一名前兽医，欧玛对世界的看法是在显微镜下的生活中得到的。在那里，构成复杂生物体的单个细胞的相互依赖性反映了肉眼可见的地球上生命的简单 行为。 “无限循环”中展出的作品是系统演化树 - 一个正在进行的项目，始于2017年，基于生物物种的遗传进化。周游的线条从一页到另一页徘徊，勾勒出球状斑点变形虫与蠕动的毛发。大胆，欢快的色彩将个体细胞结合成触摸和重叠的“家族”。如果一幅画代表一个单一的细胞，它们一起成为一个不断增长的多细胞生物，依赖于它的邻居和家庭来定义和生存在世界范围内。欧玛不断发展的艺术作品向观众开放，对整体进行不可逆转的改变，最终将观众与系统演化树联系起来。

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Ouma, "Phylogenetic Tree", 100 × 148 cm, Acrylic, pen, marker pen on paper

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   On the other hand, Autumn Lyn is interested in the metaphysical and in the relationship between abstract art and Buddhism. The circle dominates her artistic vocabulary: each revolution she draws is a mantra. Each mantra pulls her away from fantasies and anxieties and into awareness of the living moment. The number of circles or revolutions in a given work corresponds to numbers in Buddhist philosophy or to numbers with personal significance. The untitled black-and-white painting speaks of the conflict of fantastical desires and realistic necessities, which are overlaid with innumerable circular repetitions, binding both fantasy and reality together beneath Action. Further illustrating this internal conflict is a series of golden rice bowls counterposed to malformed blue bowls, each in their own tiny compartment.

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   另一方面，林景秋对超自然的及抽象艺术与佛学之间的关系感兴趣。圆圈创造着她的艺术词汇：她画的每一次旋转都是一句咒语。每一句咒语都让她远离幻想和焦虑，并进入生活当下的意识。给定作品中的圆圈或旋转的数量对应于佛教哲学中的数字或具有个人意义的数码。无题黑白画描述了幻想欲望与现实必需品的冲突，这些欲望与无数循环重复叠加，将“梦想”与“现实”结合在一起。进一步说明这种内部冲突是一系列金黄色梦想的饭碗与不完美的现实蓝色碗相对应。

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Autumn Lyn, "1080", 150 × 100 cm , Pencil and oil on canvas

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   Infinite Repetition is set within a city of luxuries. The signs and symbols of wealth surround the space, while inside the artists cope with the complexities of navigating life. In this context, the exhibition takes on another light that is more ironic. The two artists start in very different places but both use modern mechanisms to create art that acts as a reprieve in the face of the great weight of wealth, excess, and opulence that characterizes the successful modern human.

 

   无限循环选在一个奢侈的城市。财富的标志和符号围绕着空间，而艺术家内部则应对导航生活的复杂性。这两位艺术家从非常不同的地方开始，但他们都利用现代机制来创造艺术，在面对现代人的财富和过剩的巨大重量时起到缓和作用。

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PETER HAGAN

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