Diamond Roses/钻石玫瑰
在作品《钻石玫瑰》中，艺术家用水钻覆盖的玫瑰安插在不同的环境当中，从观众对其的观感互动一并完成这装置性的艺术探讨。钻石来源于自然，把它归还于自然，是这组作品的初衷。
让自然中的“玫瑰”佩戴着闪耀的“珠宝”，不仅是对大自然的歌颂，同时也是对观众的提问，当这些“钻石玫瑰”被安插于自然界中，观众也许会产生关于虚实的疑问，究竟这是否真的花、真的玫瑰、真的钻石？而种种的疑问，会因为场地的改变而变化，置身于此地将给人以虚幻的假象，产生真假矛盾的思考。
钻石来源于自然并代表着珠光宝气的象征，从原石的开采、分选、加工、分级到成品需要经历数个精细工序，无疑手工与制造赋予其新生。究竟此价值中是材料还是制作的过程更为重要呢？艺术家从运用“钻石”的概念中探讨了价值与劳动的关系。而用数个小时、用水钻手工制作的“钻石玫瑰”又代表着何种价值呢？
In the work "Diamond Roses", the artist uses plastic diamonds to cover the roses and plants them in various environments including outdoors and indoors, the audience's interaction with this installation work completes its artistic exploration. Diamonds originate from nature, and returning them to nature is the original intention of this artwork.
Allowing the "roses" to wear the "precious jewelry" is not only a tribute to nature, but also a question for the audience; when these "diamond roses" are placed in nature, the audience may have questions about reality, whether they are real real flowers, or real diamonds? And these questions will change due to the changes of which environment it's placed, and being inside this artwork will give people an illusion, leading to contradictory thinking of truth and falsehood.
Diamonds come from nature and represents a symbol of wealth and status, the mining, sorting, grading, cutting of raw stones requires many fine processes, undoubtedly handcraft and manufacturing gave the rough a new existence. Which is more important in value, the material or the process of making?
The artist explores the relationship between value and labor through the use of precious and non-precious materials. The viewers are welcomed to question, what value the handmade "diamond rose" represents?
Illusion/无心去来
艺术家用带有水钻的钢铁球体以及无数大小不一的圆形镜面为我们创造了一个，看似不现实，而又真实存在，却无法触及的空间。球体和镜面使玻璃洒进的阳光再一次反射，让空间外的真实景象与空间内的虚幻闪耀，魔法般融合，呈现出虚幻的模样。让观众与作品和这座城市之间同时产生互动，而看到的却只是虚幻的影像。“峥嵘栋梁，一旦而摧。水月镜像，无心去来”。水中月，镜中花，比喻虚幻的景象。一些故事的结局，仿佛大梦一场。我们所看到的也许都是虚幻的不真实的，只是在你脑中的映射，只是你认为是那样的。
The artist creates a seemingly unrealistic space for us with the use of diamond imitations on the steel sphere and the walls filled with countless cicular mirrors.
The sphere and mirrors reflects the sunlight through the glass, magically merging the space inside and outside of the artwork. creating an illusory appearance, letting the audience interact with the work and the city at the same time, yet what they see is somewhat illustrious.
"Like the moon in the water, the flower in the mirror", it metaphors an illusory scene.The ending of some happenings is sometimes like a dream. What we see may not be real, but a reflection in our minds of what we think is. 佘海晴的创作实践中，始终可以看到显赫之物与被遗忘之物的共存。对于珠宝及其制造工业的研究，潜移默化地影响了她的创作。通过不同材料的转换重组与繁复运用，佘海晴探讨了价值，劳动与虚无的关系。
In She Haiqing's creative practice, you would often find precious and non-precious materials combined in use. Her research on jewelry and its manufacturing industry has exerted a subtle influence on her creation.
Referring to her own experience in the process of jewelry production, she juxtaposed valuable materials, valueless manufacturing tools and wastes, and transformed them distinctively, as they are reborn and given a new life. By means of dissecting, cultivating and decomposing, Haiqing explores the cyclic relationships between value, labor and nihility.
打破重组 Broken Rebuild---佘海晴当代艺术作品展
展览地址：顺峰山公园汀芷艺术馆
导航搜索：顺峰山公园(北3门)
展览时间：2023.4.28—2023.6.4
（逢周一闭馆、开放时间为周二至周日9:00-21:00）
主办单位：顺德区委宣传部（区文化广电旅游体育局）
协办单位：广东顺德中心城区城市管理有限公司
