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Tokayin Betty

​“杜家燕上一回个展在外滩举办，纯净而又空灵的作品与百年建筑进行了一次跨越时空的对谈。此次在昌硕文化中心，她将呈现表达更为精准的“境象”作品。当灵动飘渺的观念出现在脑海中，在此处出现又在彼处消失，不执着于具象的表述，试图将观者从现成对象的审美中解放出来，达成一种分离的、变化的、流动的自由表现形式。

她的作品饱含女性的柔美，单纯地如同清晨不染的露珠，富有张力的同时，又带来强有力的视觉冲击感，将观者从现实环境中抽离，引领进她所构建的纬度，直抵灵魂深处。作品凝聚了宁静、永恒的心理特质。她的绘画不是对自然的实践改造，由对象的某种形式或形象在心理上引起情感共鸣或愉悦感受，而是具有自由联想和想象的“境象”，它首先是一种“象”，其次是包含象但超越象的“境”。柔软但富有张力是她的绘画风格，也是一种人生态度，用女性独有的温柔质地去感受人生、唤醒内心最柔软的部分，在脑海中形成印象，而后将自身的能量与丰富的情感通过迷幻的色彩、空灵的气息、丰富的肌理，多变的结构，大胆地在画布上探索、交织、碰撞、呈现，以期传达内心波澜壮阔的宇宙世界。绘画对她来说，是一场直面自我的修行。

杜家燕说，“想象会以物体的样式或早或晚的出现，不必执着于对象，具象的事物会随着观念在下一秒消失或者变化。”如同张晶《神思：艺术的精灵》中阐述的那样，‘神思’具有自由性、超越性、直觉性和创造性等特点，刘勰又高度的概括道：“神用象通，情变所孕。”绘画由情感的变化所孕育。追求美是永恒不变的主题，内心情感的追求，于灵魂而言是种至善至美的境界。将知识、经验、语言、道德、情感等逐渐内化、融合、积淀为人的内在心理结构，形成自由直观的认识、自由意志的道德和自由享受的审美。

塞尚说，“尽管艺术家被过多的人所包围，但事实上他‘只被极少数人所理解’”。作为一种指向现实生活的“符号”，艺术既与生活世界有关又不是这个世界，而只是这个世界的一种“形式”。画家以这种方式摆脱现实性的束缚，用“境象”的作品向我们呈现生活的无限可能性。”

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—杨文文

“TOKAYIN’s previous solo exhibition was held on the Bund. Her ethereal art pieces and century-old architecture had a cross-time conversation. This time at the Changshuo Cultural Center, TOKAYIN will present accurate perceptions of her idea of imagery. When the ethereal concept appears in the mind, it appears here and disappears there. It does not adhere to the concrete expression, and tries to liberate the viewer from the aesthetics of the ready-made object to achieve a separate, changing, and flowing free form of expression.

TOKAYIN’s works are full of feminine beauty, like fresh dew in the morning, full of tension, but at the same time it also brings a strong sense of visual impact. Which pulls the viewer away from reality and the environment around us, leading into the latitude she has built, and reaches deep into one’s soul. Her work embodies the tranquil and eternal psychological characteristics. Her paintings are not a practical transformation of nature, which is caused by some form or image of the object in the psychological sense of emotional resonance or pleasure, but instead a "state image" filled with space for free associations and imagination. It is first an "image", and then a "state" that contains but transcends the image. Soft and gentle but full of tension is her painting style, as well as her attitude towards life. She uses the unique gentle texture of women to feel life, awakening the softest part of her heart, forming an impression in her mind, and then boldly exploring, interweaving,colliding and presenting her own energy filled with rich emotions on the canvas through hallucinatory colors, ethereal breath, rich texture and changeable structure. All of this in order to convey the magnificent universe within the heart. For her, painting is a self-facing practice.

TOKAYIN says, "Imagination will appear in the form of an object in the third dimension sooner or later, and there is no need to cling to the objects. The concrete things will disappear or change with the idea within the next second." As Zhang Jing explained in "The Divine Mind: The Spirit of Art", "The Divine Mind" has the characteristics of freedom, transcendence, intuition and creativity. Liu Xie also highly summarized: "The divine mind is connected with the image, and the emotion is pregnant." The painting is nurtured by the change of emotion.

The pursuit of beauty is an eternal theme, and the pursuit of inner feelings is a perfect state for the soul. Gradually internalize, integrate and accumulate knowledge, experience, language, morality and emotion into the internal psychological structure of human beings, and form a free and intuitive understanding, a free will of morality and a free enjoyment of aesthetics.

Cezanne said, "Although the artist is surrounded by too many people, in fact, he is only understood by a very few people". As a "symbol" pointing to real life, art is not only related to the world of life, but only a "form" of the world. In this way, painters get rid of the shackles of reality and show us the infinite possibilities of life with the works of "image".”

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—Icy Yang