An Excerpt from”What Is the Transcendent Art World of Female Artists? They Respond with “The Kingdom of Light” at the Start of the Year”
BY curator NingWen，Art Alpha ，16/02/2025
The works on display this time, Natural Selection and Untitled, are two pieces from Xin Di’s recent creations based on the form of conch shells, rich in symbolic meaning. The various shells are not only natural objects the artist has collected since childhood, but also carriers of her personal memories from different periods, serving as footnotes to the passage of time in life.
Through contemplation of the growth traces of herself and external objects, her creative practice intuitively patrols the cognitive boundaries between self-existence and the real world: from gazing at the vessel of life, to the permeation of imagery between time-space and memory, to the self-construction of the individual life form, ultimately pointing toward an almost meditative awareness of the self amid the vortex of infinite proximity and eternal alienation.
Gazing at Untitled, 2024, one forgets the specific imagery and detaches from the concrete conch—the endless spiral evokes the sensation of Sufi whirling, originating from 13th-century Arab states, entering a state of ecstatic transcendence through ceaseless rotation to achieve unity with the divine; it is as if hearing the roar of ten thousand lions. It is both outward expansion in growth and inward convergence in contemplation; both a material container and a spiritual dwelling; and simultaneously a metaphor for life’s self-realization. Xin Di’s depictions of natural objects gradually detach from specific spaces and forms, constructing the extensibility of pictorial space through their inherent, almost abstract natural geometric properties. At the same time, through meticulous observation and delicate rendering of textures, she retains hints of the concrete, endowing form with a rhythm that is both tactile in materiality and organic in vitality.
Perhaps for Xin Di, “natural selection” is not mere determinism, but a consensus and balance woven from necessity and chance in life. With reverence and curiosity toward nature, she approaches its transcendent essence through sustained gazing, thereby sketching a visual allegory of the individual life form constructing the self amid the tensions of instinct and awareness, ultimately achieving wholeness of existence.
摘自“什么是女性艺术家的超验艺术世界，开年她们用“光之国度”回应“
策展人宁文，艺术阿尔法，2026年2月26日
本次展出的《自然选择》与《无题》，是歆迪近作中以海螺形态为创作基底的两件作品，富有象征意味。各式的螺壳不仅是艺术家自童年时期便开始收集的自然物，更承载着她不同时期的个人记忆，成为时间流逝着落于生命中的注脚。
通过对自身与外物生长痕迹的观照，她的创作实践也直觉性地逡巡于自我存在与现实世界之间的认知边界：从对生命容器的凝视，到时空与记忆间意象的渗透，再到生命个体的自我构建，最终在无限接近又永恒疏离的漩涡中，指向近乎冥想般的本体觉知。
凝视《无题，2024》，让人忘记了具体的画面、脱离了具象的海螺——这无尽的螺旋，让人似乎感受到起源于13世纪阿拉伯国家的苏菲舞，通过不停地旋转进入天人合一的忘我超验状态；又好像听闻十万狮子吼。它既是向外扩张的生长，也是向内收敛的沉思; 既是物质性的容器，也是精神性的栖居所，同时亦为生命自我实现的隐喻。歆迪对自然物的描绘逐渐抽离了具体的空间与形貌，通过其既有的、近乎抽象的自然几何属性，构筑起画面空间的延展性；与此同时，又以致微的观察与细腻的纹理刻画保留具象的暗示，进而赋予形式以既具材质感又富有机性的律动。
或许对歆迪而言，“自然选择”并非简单的决定论，而是生命在必然与偶然交织中的共识与平衡。她怀有对自然的敬畏与好奇，在持续的凝视中接近其超验的本质，从而勾绘出生命个体在本能与觉知的拉扯中构建自我，最终实现存在完整性的视觉寓言。
Link： https://mp.weixin.qq.com/s/f5M094wLqO_EkPbZAN1YEg