“In 2025, Beijing saw its heaviest rainfall in sixty-four years. With ‘rain’ as the excuse, I begin a grammar experiment in painting.”

——Liang Yuanwei 梁远苇

"Rain" in Liang Yuanwei's latest series of oil paintingsembodies the dynamic momentum of brushstrokes, the very act of painting. We have never truly witnessed rain without motion—rain is a verb. "Rain" is Liang’s revelation of painting as action, unreserved.

Liang demands that her canvases bear no signs of revision. This discipline asks absolute commitment to each stroke, while allowing the interplay of gestures, their connections and contrasts, to generate a unique pictorial tension. Working with diluted oil paint heightens the challenge of control and compels the movements to be more coherent and compact. While mastery is often born of repeated practice—“practice makes perfect,” Liang consciously pursues a “de-familiarization” of her own technique. For this exhibition, she has set aside fine brushes in favor of coarse implements—scrapers, round cutouts—to spread and texture the paint. New color combinations are introduced between two superimposed layers of diluted paint, generating chromatic shifts that extend beyond her familiar palette. The thinly applied surface is repeatedly worked in varying directions and pressures, gradually exposing the layer beneath. In what Liang calls a form of “extremely limited sculpture,” light is invited to penetrate across the color strata and directional marks, activating a continuous visual fluctuation between the “figure” and the “ground.”

Through gestures that feel unfamiliar to her painting practice, the artist comes to sense a certain quality inherent in the movement itself. While the nature of these movements does not change with repetition, their texture grows increasingly vivid through recurrence. In Liang’s latest paintings, each movement is nested within a localized web of surrounding marks, while formally resonating with other gestures across the canvas. These conjure textures from the wider world, evoking a resonant tremor between the painting’s interior and the world beyond it. Within this ongoing, vibrating relationship with the world, the painting’s "content" emerges and recedes.

“Pluviophile” is formed from “Pluvio” and “-phile.” Any noun may precede “-phile”; here, “-phile” is a verb. “-phile” signifies Liang Yuanwei’s act of painting from within the world. Such an action draws no meaning from its poles—the beginning and the end, the subject and the object, the “self” and the world; it unfolds through continuous return. It does not move outward toward the world to claim it as its own; rather, it vibrates from within it, alongside it. Through the relentless repetition of this motion, Liang Yuanwei never establishes nor acquires a fixed relationship with the world. Instead, she weaves self and world into a dynamic, interlaced grain.

“2025 年的北京下了六十四年来最多的雨。我以‘雨’为借口，在绘制中展开了一场语法实验。”

——梁远苇

“⾬”在梁远苇最新的油画系列中是笔触的动势、绘画的动作。我们从未真的见过没有动势的⾬，⾬是⼀个动作。“⾬”是梁远苇对绘画动作的毫不掩饰。

梁远苇要求⾃⼰的画⾯中没有悔笔。这不仅是对每⼀个笔触的极⾼要求，也让每⼀个绘画动作之间的关联与差异构成了艺术家画⾯中独特的张⼒。

稀释的油画颜料增加了对笔触控制的难度，同时也要求连续的动作更加连贯⽽紧凑。动作可以通过不断的经验训练，“熟能⽣巧”；⽽梁远苇则有意地在创作中寻求⼀种“去经验”的⽅式。在此次展览的油画作品中，她搁置了对细腻的画笔的使⽤，⽽选择粗朴的刮板、圆⽚等⼯具来处理颜料的疏密；在⽤两层稀释的油画颜料叠加来产⽣⾊彩变化的⽅式上，她引⼊了更多的颜⾊组合，来产⽣过去创作经验之外的⾊彩效果。极薄的表层颜料被以不同⼒度和⽅向的动作刮除，露出底层。艺术家以这⼀她所形容的“最低限度的雕塑”，邀请着光线对物质进行穿透，在不同⾊相的⾊层和不同⽅向的痕迹间造成“图”与“底”之间的波动，形成了颤动的视⽹膜印象。

对艺术家的绘画经验来说有些陌⽣的动作让她感受到某种动作⾃身的质地。动作的性质不在绘画动作的重复中发⽣改变，然⽽质地本身却在不断的重复中变得越来越⽣动。每个动作嵌套在它周围的局部纹理⽹络中，⼜与远处的动作发⽣形式上的呼应。它们令⼈联想起世界上的⼀些纹理，画⾯内部与外部的世界发⽣某种共鸣式的颤动，画⾯的“内容”在与世界持续相互颤动的关联中浮现⼜隐退。

“⾬瘾者 Pluviophile”由“Pluvio”和“-phile”组成。我们可以在“-phile”前加任何名词，“-phile”是⼀个动作。“-phile”是梁远苇在世界内部的创作动作。这样的动作在不断的重复中展开⾃⼰，但不凭借它的两端——起点与终点、主体与对象、“我”和世界——获得意义；这样的“动作”不朝着世界、将世界其据为⼰有，“动作”在世界的内部、和世界⼀起震动。通过不断的重复动作，梁远苇从未建⽴与获得⼀种与世界之间的确定关系，⽽是借此将⾃我与世界编织成某种动态的肌理。