花语｜Flower language

2025.花语个展

2025 Flower Language Solo Exhibition

策 展 人：高 星 段维国

参展艺术家：花 语

艺术总监：祁志龙 吴静涵

学术支持：杨 卫 牧 野

音乐支持：蒋山 Elmo(澳大利亚)

开幕时间：2025.09.11/15：30pm

展览时间：2025.09.11-09.14

展览地点：北京怀柔桥梓艺术公社

主办：上苑艺术馆

协办：诗画艺术同盟

媒体支持：

中国诗歌网/中国美术报/雅昌艺术网/中诗网/作家网/中国诗人在线/今日头条/新浪/搜狐/网易/宋庄时代/诗外滩/

沙峪口水库留影

澳大利亚歌手艾蒙献唱

2025.9.11，由诗人高星策划的花语个展在北京上苑艺术馆开幕，策展人高星，诗人花语，职业艺术家、画家吴静涵、陈宝亮、见灵、熹熹文、薛杰喜，诗人安琪，千金子、王增宇夫妇以及上苑驻馆艺术家李念奴、汤军，段维国、楚子、雪灵、琼芯、孟志、以及艾蒙（澳大利亚)、安迪（拉脱维亚）、保罗（英国）、大树（塞尔维亚）等一行数十人参加开幕式。

花语个展开幕式由诗人高星主持，高星在致辞中坦言“花语个展”是他的“人生首策”、并对花语近来的画作给以了表扬和肯定，参展人花语表示近来画作有创新是因为驻馆受到了怀柔灵山秀水的滋养。诗人安琪在讲话中指出，花语的作品有人物、动物、植物、抽象，是一个有创造力，能力全面的人，驻馆艺术家艾蒙（澳大利亚）表示花语早期的画作很有趣，也很有特色，现在，这些作品对色彩的运用，更让人心生欢喜。

On September 11, 2025, a flower language solo exhibition curated by poet Gao Xing opened at the Shangyuan Art Museum in Beijing. The curator is Gao Xing, the poet is Hua Yu, the professional artists and painters are Wu Jinghan, Chen Baoliang, Jianling, Xixiwen, Xue Jiexi, and the poet is Anqi. The couple of Qianjinzi and Wang Zengyu, as well as the artists Li Niannu, Tang Jun, Duan Weiguo, Chu Zi, Xue Ling, Qiong Xin, Meng Zhi, and Ai Meng (Australia), Andy (Latvia), Paul (England), Da Shi (Serbia) and dozens of others attended the opening ceremony.

The opening ceremony of the flower language exhibition was presided over by poet Gao Xing. In his speech, Gao Xing frankly said that the flower language exhibition was his first exhibition in his life and praised and affirmed the recent paintings of flower language. The exhibitor flower language said that the recent paintings were innovative because they were nourished by the gentle and beautiful waters of Huairou. Poet Anqi pointed out in his speech that Hua Yu's works include characters, animals, plants, Abstract, a creative and all-round person, the resident artist Aimon (Australia) said that the early paintings of the flower language are very interesting and distinctive. Now, the use of color in these works makes people more happy.

歌手蒋山在开幕式现场，弹唱了海子诗歌改编的《德令哈》，张子选诗歌改编的《怎么办》引起现场大合唱，澳大利亚歌手艾蒙也为开幕式献唱两曲。由于花语个展与女艺术家四人联展同时开幕，穿插的发言有着跳跃式的节奏。上苑驻馆艺术家汤军、段维国，诗人王增宇等分别发言，诗人千金子安琪分别为花语献花。活动在两个多小时的畅所欲言和弹唱中结束。

Singer Jiang Shan sang the adaptation of Hai Zi's poem "Delingha" at the opening ceremony, and Zhang Zixuan's poem "What to do" caused a big chorus on the spot. Australian singer Aimon also sang two songs for the opening ceremony. Due to the simultaneous opening of the flower language solo exhibition and the four-woman artist joint exhibition, the interspersed speeches have a jumpy rhythm. Artists Tang Jun and Duan Weiguo, poet Wang Zengyu, etc. made speeches, and poet Qianjinzi Anqi presented flowers to the flower language. The event ended after more than two hours of free speech and singing.

众人评花语

海男 安琪 潘漠子 李木马

施施然 杨荟 顾北 高星

花语又一次以后现代的美学姿态转身，在短暂的时间里呈现出现代绘画长廊深处人和色彩的巨变，这是一个系列的色彩学漂移，是花语独特画布上的舞台和旅行。花语的画激情中有克制，自由中有隐秘，她是一个永不停歇的诗人和画家，不断的追索内心灼热的神性和自我的理想主义者的生活和艺术，并与此融为一体，她是我们这个时代最孤勇的美学造梦人。

——诗人、画家、鲁奖获得者海男

Flower language once again turned in a post-modern aesthetic attitude, presenting the great changes in people and colors in the depths of the modern painting corridor in a short time, which is a series of color drifts, the stage and travel on the unique canvas of flower language. Flower language painting: passion with restraint, freedom with concealment, she is a poet and painter who never stops, constantly pursuing the inner heat of divinity and the idealist's life and art, and integrating them into one, she is the most courageous aesthetic dreamer of our era.

——Poet, painter, Lu Award winner Hai Nan

花语新的系列中，女人和花这个系列我很喜欢。这个系列围绕着女人跟花的关系来处理，每一幅都不同。有的是从女人的躯体长出花，有的是在花里长出女人，构思奇妙、想象力飞驰，线条柔美、神秘、夸张，象征意义和解读空间很大，让人过目难忘。这个系列可以继续往下画，形成独属于花语的意象和绘画语言，值得继续关注。

——诗人、画家安琪

In the new series of flower language, I really like the series of women and flowers. This series revolves around the relationship between women and flowers, and each one is different. Some flowers grow out of a woman's body, and some women grow out of flowers. The conception is wonderful, imagination is flying, lines are soft, mysterious, exaggerated, and there is a lot of symbolic meaning and interpretation space, making it unforgettable. This series can continue to be painted, forming a unique image and painting language of flower language, which is worth paying attention to.

——Poet and painter Anqi

显然，以高纯度的色彩来袒露画面情感的不仅仅是以诗人为第一身份的花语，而是几乎所有女性诗人在以西画材料进行跨界创作时所渲发的必然性、集体性心理颜色——某种缺失或者有意排斥严格艺术训练的只忠实于本能和才华的诗歌色彩。这种母系色彩以及由这些色彩所框取的世界可以与大卫. 霍克尼的众多风景画并肩。如果说霍克尼提供的是一朵花在阳光与风雨中的色泽，那么花语及类花语们补充的是一朵花在诗性与词语中的色泽。两者在艺术圈层中没有高下之别，因为花语与霍克尼都为自己及所有可能的目击者设定了从暗黑到明艳的路径，且这一路径不可篡改。

——诗人、画家、雕塑家潘漠子

Obviously, it is not only the flower language with poets as the first identity, but also the inevitability of almost all female poets when using Western painting materials for cross-border creation, to reveal the emotions of the picture with high-purity colors. Collective psychological color - a kind of lack or intentional exclusion of strict artistic training, only faithful to instinct and talent poetry color. This matriarchal color and the world framed by these colors can be compared to David

Hockney's many landscape paintings side by side. If Hockney provides the color of a flower in sunshine and wind and rain, then the flower language and similar flower language add the color of a flower to poetry and words. There is no difference between the two in the art circle, because both flower language and Hockney have set a path from dark to bright for themselves and all possible witnesses, and this path cannot be tampered with.

—— Poet, Painter, Sculptor Pan Mozi

我对诗人花语的诗歌和绘画都很关注，特别对她的绘画有三点印象：

一是她的绘画构图有想象力，大胆而又理性，初看出人意料，细品又在情理之中。这种构图能力很直接地体现出了她的艺术见解与审美能力。斜线切割的构图板块体现出的意味感，树木般的花朵，小仙子般的人物，甚至简约的头部让衣袂飘然的女性艺术形象更具感染力……在构图中的大小夸张对比之间，找到了一种微妙的艺术平衡。

二是她对意象的选择以及色彩语言有较深的认知，这可能与诗人的素养与敏感有关。关于她的构图，我可以理解为“人与花卉的抽象艺术关系”以及“思考的猫”。我对她的“猫”系列一直抱有肯定态度，其中的寓言性与戏剧性显而易见。从色彩上，她对红黄蓝三原色的运用非常到位，有一种直抵绘画本质的默契感。她对浅绿、浅紫和黑色的运用也有一种信手拈来的从容，而且，她的色彩运用与构图体现出了一种相互的理解、烘托与成全。

三是花语的绘画笔触和她的诗句一样，具有一种女性少有的力量感与粗粝感，这种画面的力量感其实反映出的是一种内心的力量，同时也流露出她的性格中的那种质朴、真率的气质。显然，她的用笔是有速度感的，速度感体现出的笔触肌理清晰可见。油画笔触的速度感比国画的速度感难度更高，与其说这是一种修炼的技能，毋宁说是一种自然流露的秉性与天赋。

偶有闲暇，我乐于欣赏和学习花语的诗画创作，感动于作品中流淌着真挚的艺术力量。因此我一直很肯定地认为她会越写越好，越画越好！

——诗人，书画家，中国文联书画家联谊会工作委员李木马

I am very interested in the poetry and paintings of the poet, and I have three impressions of her paintings in particular:

First of all, her painting composition is imaginative, bold and rational, initially surprising, but after careful consideration, it is reasonable. This composition ability directly reflects her artistic insight and aesthetic ability. The composition of the slanting line cutting board reflects the sense of meaning, the tree-like flowers, the fairy-like characters, and even the simple head makes the artistic image of the woman with flowing clothes more infectious.

A delicate artistic balance was found between the exaggerated contrast in size in the composition.

Secondly, she has a deep understanding of imagery and color language, which may be related to the poet's quality and sensitivity. Regarding her composition, I can understand it as "the abstract artistic relationship between people and flowers" and "the cat that thinks." I have always had a positive attitude towards her "cat" series, and its allegorical and dramatic nature is obvious. In terms of color, she uses the three primary colors of red, yellow, and blue very well, and there is a tacit understanding that reaches the essence of painting. She also has a kind of ease in using light green, light purple, and black, and her use of color and composition reflects a mutual understanding, enhancement, and completion.

The third is that the painting strokes of the flower language are as powerful and rough as her poetry, and the power of this picture actually reflects the power of the heart, as well as the simplicity and sincerity of her character. Obviously, her brushwork has a sense of speed, and the texture of the strokes is clearly visible. The sense of speed of oil painting strokes is more difficult than that of Chinese painting, and it is more a natural expression of temperament and talent than a skill that needs to be cultivated.

When I have free time, I enjoy appreciating and learning from the poetic and artistic creations of flower language, and I am moved by the sincere artistic power flowing through the works. Therefore, I have always been sure that she will get better and better at writing and drawing!

— Li Huama, poet, calligrapher, and member of the Work Committee of the Calligraphers Association of China Federation of Literary and Art Circles

花语新画以女性与花为媒介，构图平稳舒服，色彩更加柔和明丽，将一位性格坚毅张扬的女诗人内心的梦幻与柔软呈现了出来，完成了一次诗与画的灵魂对话。这些作品似乎是画家精神的隐喻——介于内观与燃烧之间，在抽象与具象的边界缔造出迷离的诗意想象。这次画展不仅仅是一场视觉成果展示，记录着花语对艺术的执着进取，更是一次关于美，关于某种和解的沉思与洗礼。

——诗人、画家、《中国女诗人诗选》主编施施然

The flower language new painting takes women and flowers as the medium, the composition is stable and comfortable, the color is more soft and bright, which presents the dream and softness of the inner mind of a female poet with strong character, and completes a soul dialogue between poetry and painting. These works seem to be a metaphor for the painter's spirit - between introspection and burning, creating a hazy poetic imagination at the boundary between abstraction and figuration. This art exhibition is not only a display of visual results, but also a reflection on beauty and a kind of reconciliation.

——Shi Shi, poet, painter, editor-in-chief of "Selected Poems of Chinese Female Poets"

每次看花语的绘画作品，都会让我想到马蒂斯。他们都摒弃传统透视，舍去光影，用线条和色块构建动态节奏。且花语的线条更随性更奔放，色彩更大胆更直接，甚至在突兀中寻求精神阻力和视觉张力。她笔下多是花卉、猫咪、鸡仔等轻松明快且亲切可人的主题，在意象的描绘中她没有精细的描摹，转而运用饱满，跳跃的色彩与简洁的几何形象捕捉物象深层次的灵魂而非外貌。不知是她喜欢画猫儿，才养了好几只猫儿，还是她养了猫儿，才喜欢画猫儿，包括花语小院里栽种的各类花草。这恰恰说明，所有艺术创作都基于艺术家的生活底色，精神维度，及灵魂捕捉最柔软处的那种脉脉温情的疼痛。她的绘画题材一直在现实里，但高度概括和抽象的手法，又让绘画脱离现实的束缚，进入一个更纯粹，更主观的情感世界。她不邀请我们“看懂”，而是邀请我们“感受”，感受如她一样蓬勃的生命力以及色彩所带来的诗性愉悦。

——诗人，画家杨荟

Every time I look at the paintings of Flower Language, I think of Matisse. They all abandoned traditional perspective and light and shadow, and used lines and color blocks to build a dynamic rhythm. Moreover, the lines of flower language are more casual and unrestrained, the colors are bolder and more direct, and even seek spiritual resistance and visual tension in abruptness. Her works are mostly about flowers, cats, chickens, and other light-hearted and friendly themes. In the depiction of imagery, she does not use detailed descriptions, but instead uses full, jumping colors and simple geometric shapes to capture the soul of the object rather than its appearance. I don't know if she likes to draw cats, so she has several cats, or if she has cats, so she likes to draw cats. This includes all kinds of flowers and plants in the flower language courtyard. This shows that all artistic creations are based on the artist's life background, spiritual dimension, and the tender pain of capturing the softest part of the soul. Her painting subjects have always been in reality, but the highly generalized and abstract techniques make the painting free from the constraints of reality and enter a more pure and subjective emotional world. She does not invite us to "understand," but invites us to "feel," to feel the vigorous vitality and the poetic pleasure of color as she does.

—— Poet and painter Yang Hui

这几天，诗人花语和她的朋友们画展引发很多人关注。从花语向我们展示的一百多幅作品中，引起我最大兴趣的，单幅作品给人感觉质朴无华，甚至略显天真稚嫩；但放在众多作品中，却令人心动，有一种从心底喷涌而出的激情、真诚、坦荡，以及富有灵性的先锋。作为一个诗人，花语以“横冲直撞”的语言打动读者；作为画家，花语以“简单、浓烈”的色彩表达自己的情感，赋予画作更多的可能。我想起邱志杰曾经在评论上世纪九十年代的艺术创新作品时曾说过，后感性是一种边缘化的精神状态。我以为，通过观察与欣赏花语画作，邱的这句总结，同样也适合当下的表现艺术。——诗人 顾北

In recent days, the exhibition of poet Hua Yu and her friends has attracted a lot of attention. Among the more than 100 works presented to us by the flower language, the single work that aroused my greatest interest was that it gave the impression of being simple and unadorned, even slightly naive; However, among many works, it is captivating, with a kind of passion, sincerity, straightforwardness, and spiritual avant-garde that gushes from the bottom of one's heart. As a poet, the language of flower language moves the readers with its "reckless" language; As a painter, Hua Yu uses "simple and intense" colors to express her emotions, giving her paintings more possibilities. I remembered that Qiu Zhijie once said in his comments on the works of artistic innovation in the 1990s that post-sensibility is a marginalized mental state. I thought that through the observation and appreciation of flower language paintings, Qiu's summary was also suitable for the current performance art. 

—— poet Gu Beihui

The poetic and eternal nature of women and flowers

——Review of the series of oil paintings on flower language

Gao Xing

Through the green stem tube, the force that drives the flowers

To stir up my green years; The force that destroys the roots of trees

Destroy everything I have.

I have no words to tell you about the hunchbacked rose.

The same cold and fever have bent my youth.

The recent painting of the female poet's flower language reminds me of Dylan Thomas's poem. In fact, every painter's initial painting image is the direction of fantasy and desire, that is, women and flowers, which is also the symbol of God. Flower language seems to be to keep the first love, and never tire of drawing women and flowers.

I dare not say how much love there is in the flower language, only to invest in this grand narrative, what I want to say is: how much faith she has.

In the painting of flower language, the flowers are large, lotus, peony, rose, camellia, reed flower. The woman's flowing hair, the giant trapezoidal shape, the transparent feeling of the skirt and short hair, is very exaggerated. The smallness of the head, the omission of the facial features, but all with a black top hat, seems to be a concept diagram. Women or walk with flowers in hand, or sink into flower petals, or look back and gaze, graceful and elegant.

The colors in the picture are mostly vivid contrasts and complementary colors, such as red and black, red and green, purple and orange, black and red, white and green, and yellow and blue.

Flower language abandons form and skill, like color rushing to the canvas, butterfly rushing to the flower. Pure decorative effect, aggressive. It is like a fantasy symphony between women and nature, symbolizing the eternal beauty of life and nature, and interpreting love to the fullest. The beautiful woman is drunk and lying in the flowers, unable to extricate herself.

The painting of flower language reminds me of Klimt's beautiful paintings, delicate brushstrokes and luxurious decorations, which form a magnificent melody of beauty and flowers. Although the painting of the flower language is more simple and pure than that of Klimt, it lacks the splendor of gold and silver.

The painting of flower language reveals a quiet and dreamy feeling, whether you believe it or not. The whole picture contrasts with blooming flowers and deep or empty backgrounds, creating a wonderful visual effect. The woman's robe flowed like a waterfall, intertwining with the flourishing flowers around, and the vitality of the woman and the flowers communicated with each other, harmoniously blending together. 

In the treatment of flower shapes, the flower language draws on the form of traditional Chinese ink and brushwork, and the flowers are finely depicted, with each layer of petals clearly visible, with lines outlining delicate contours, further enhancing the overall sense of opulence. The slight wrinkle at the edge of the petal seems to let people smell the fragrance of flowers.

The language of poetry carries the profound meaning of life, love, and beauty in the picture through the symbolism of imagery and the feast of vision, creating a mysterious, romantic, and profound emotional atmosphere.

In fact, when I see these paintings, there will always be a reverse moment, which is a kind of tragic, sentimental, and even desperate feeling brought by distance. When beauty reaches its peak, there will be a response.

迟寄花语｜简素

你低垂的颈项在画布前弯成的弧度，

让我担心。捎上治疗仪，摘一束格桑花

我从不问花是否解语

午后，颜料在裂隙里豢养流浪的光

象群试图冲破阴霾的围城，钟馗挥袖卷起一缕民国轻风

你的玫瑰和女人在调色板暴动，

另一种语境

我行走黑白人间多年

避开所有有迹之径，却在转角

撞见身披彩虹的族人，碎金对话穿过琴键

坠入我的夜

父亲案头星空开始旋转

作文格里囚禁的颜料，从断句处醒来，

认出彼此相通的血

闭馆时，所有离散元素

缠绕成新的星座，点线面穿刺梦境

在盲区织就比暮色更悬的诗

夜露浸润牛皮纸，格桑花朝你弯曲的颈项转动

原来花真能解语，它用整片草原的沉默

接住你颈椎倾泻的光

2025年9月14日星期日，在上苑观花语画展后有感

911花语的太空步｜千金子

从东坝到宋庄，到双井

忍着饥饿，和安琪，王增宇

驱车几小时到怀柔

怀柔，并不柔

棱角，尖利，扎胎

包容，也发光

桥梓庄，却是国际的艺术馆

在这里邂逅是常态

高星的“半月山庄”

偶遇扎堆，南瓜与石头

艺术在这里支撑起天空

大街上走着的

都带着千金的重量，国际友人

重金属的音乐和金属的色彩

花瓣的小手和长发的光泽，花语

鲜花与女人

让尘世交织，呈现

魔幻的微微笑容，四人联展

一群既是大人又是孩子的音符

跳荡在沙峪口旋转的光芒里

舞动在太阳投向大地的光环里

911女艺术家，挥动着

它们花瓣一样的小手

迎来了

四海皆友的，寻梦人

2025年9月11日

艺术简历：花语，诗人、画家、策展人，参加诗刊社第27届青春诗会，曾获国家诗人地理访谈奖、华语十佳诗人奖，《安徽诗人》《山东诗人》《西北军事文学》年度优秀诗人奖，第三届中国长诗奖，第四届海子诗歌奖.提名奖，首届海燕诗歌奖，《现代青年》年度十佳诗人奖，入选2013中国好诗榜，2001至2010中国网络十佳诗人奖，2004诗歌报年度诗人奖，著有诗集《没有人知道我风沙满袖》等三部。2017开始习画，多次组织诗画艺术写生；打造诗画十佳女诗人艺术展品牌、中国女诗人画家走进新时代品牌；2021年5月在北京举办首次个人画展。

2025 Chinese female poets and painters enter the Jia County Poetry Exhibition

9.13恰逢沙峪口艺术节参观贾廷峰老师工作室 

来源：宋庄时代

https://mp.weixin.qq.com/s/boIl-GwFZ6pPKjx_SnMWfw