参展艺术家 Exhibited Artist
Tiantian Lou (b. 1995) shapes her artistic practice around a continuous curiosity for spatial conditions tangent to architecture. Drawing from her expertise in textile and printmaking, Tiantian utilizes a diverse range of artistic mediums, experimenting with them in her inquiries. She holds an M. Arch from Princeton University and a B.Arch and BFA from the Rhode Island School of Design. Tiantian currently lives and works in New York.
Currently, I am exploring the idea of monumentality, which is often a language of power—rigid, symmetrical, and enduring. In my work, I soften these ideals by introducing softness, asymmetry, and ambiguity to reshape our perception of the built environment. Through both painting and sculpture, I diffuse the authority of architectural forms, inviting a reconsideration of their permanence and meaning.
My paintings and sculptures exist in conversation, exploring the tension between structure and instability. In my paintings, architectural forms compress into stacked compositions that blur the line between buildings and still-life objects. Their geometric precision is subtly disrupted—off-kilter symmetry, shifting colors, and layered forms create a sense of precarious balance, unsettling the stability of these structures. Scale, too, becomes ambiguous—monuments shrink into intimate arrangements while everyday objects take on architectural weight.
This fluidity between monument and model carries into my sculptures, where rigid structures—most notably the column—are reimagined in fabric. What begins as a measured, geometric plan is softened through the act of sewing, where seams, folds, and slight distortions introduce a human touch. These fabric columns resist the solidity of their stone counterparts, embracing movement, flexibility, and imperfection. As they scale up, their softness becomes even more pronounced, amplifying the contrast between the monument’s intended authority and its newfound vulnerability.
By shifting scale and material, my work redefines monumentality as something dynamic rather than fixed. A building can be soft, unstable, even intimate; a still-life can carry the weight of an entire structure. I propose an alternative monumentality—one that is fluid, mutable, and human, embracing imperfection and the presence of the hand.
楼添添(1995年生)在建筑相关的空间条件中持续保持着好奇心，并以此塑造她的艺术实践。凭借在纺织与版画领域的专业背景，娄甜甜运用多样的艺术媒介进行创作实验，不断探索新的表现方式。她拥有普林斯顿大学建筑学硕士学位，以及罗德岛设计学院建筑学与美术学士学位。目前，她生活并工作于纽约。
她的创作当前聚焦于「纪念性」概念，这一概念常被视为权力的语言——僵硬、对称且持久。在作品中，娄甜甜通过引入柔性、不对称与模糊性来缓和这些理想，重新塑造观者对建成环境的感知。通过绘画与雕塑，她削弱建筑形式的权威性，邀请观者重新思考其持久性与意义。
她的绘画与雕塑互为呼应，探索结构与不稳定之间的张力。在绘画中，建筑形态被压缩为叠置的构图，模糊了建筑与静物之间的界限。几何的精确性被微妙打破——倾斜的对称、色彩的变化以及层叠形态营造出一种不稳的平衡感，动摇了结构的稳定性。尺度亦显模糊——纪念性建筑缩小为亲密的排列，而日常物件则承载起建筑般的重量。
这种纪念物与模型之间的流动性延伸至雕塑创作中，其中最具代表性的柱式结构被重新想象为织物形式。原本精确的几何设计，通过缝合过程被柔化，缝线、折叠和微小的扭曲注入了人性化触感。这些织物柱体抵抗了石材柱的坚固性，呈现出运动性、柔韧性与不完美。随着尺寸的放大，其柔软性更加明显，强化了纪念性权威与新生脆弱之间的对比。
