王顺瑜：泡状母性
WANG SHUNYU：Bulliform Maternity
展期：2024年09月23日—11月29日
地点：SC Gallery｜香港·黄竹坑道53号英基工业中心19楼1902
展览探讨了家族迁移中人与地的关系。
Explore the relationship between people and places in family migration.
Wong Shun Yu Solo Exhibition: Bulliform Maternity
王顺瑜个展：《泡状母性》
前两天再看《红楼梦》的时候，被「黛玉进府」的第一句：“雏燕离却旧时，孤女投奔外祖母”提醒：如果说迁徙使黛玉走入贾府的悲剧，那么是不是也表示大环境的命运与个人的命运之间往往是由「迁徙」所连接和推动着？
在上一个展览中，我曾尝试用比较宏观的历史层面去剖析和体认我与香港这片土地之间的关系，虽然其中确有夹杂著个人的历史，但似乎只能作为一种隐性的线。然而在这次的展览中，我试着从更为私密的个人与家族的历史出发.叙述家族迁徙的过程中，人与地方关系的变化。这里的「地方」，或许被理解为更为抽象的对象较为合适，又或者说是一种心灵地景。纵观我们家的迁徙历史，一直都是以女性作为中心，从外婆，到母亲，除了我。
红楼梦里第五十九回中用「珍珠与鱼眼睛」来比喻少女和母亲，珍珠似乎常常与女性联系在一起，无论在东方志怪小说中蚌精的珍珠，还是西方经典中遍地宝藏和珍珠的应许之地，珍珠总能以如维纳斯般圣洁且纯真的形象出现在人的印象中。
外婆聊起初到香港的时候，她说就像刘姥姥进大观园，看什么都是新鲜的。她形容自己，像一只大蚌，拖着几只小蚌。可能在她眼里，我们都是她怀中的珍珠。驼着我们从上海到深圳，从深圳再到香港。初来的母亲是少女，归去已为人母。数十年的光阴里，她对于香港来说，好像一直都如同她爱唱的那段越剧：“天上掉下个林妹妹”，唐突却不可逆转。
个人与地方的连接，在宗教性的叙述中是垂直发展的，冀以透过修行与神性产生连接，然而在世俗生活中确实横向扩张的：以家庭为单位的基石，可以衍生出极为坚实的人地关系。如我，如母亲，如外祖母，像一层层互相侵融的蚌，都是彼此的珍珠。
横向与纵向的结合形成了一个坐标系，这似乎为人之所存在提供了一个依据。人的迁徙是感性的，试图用冰冷严肃的历史来解释人的流动，对我来说是残忍的。我喜欢那些交织且晦暗不明的关系，因为有时候这些才能反映出更大的历史叙事。在翻滚的时间洪流之中，个人与家庭的际遇是那么的微不足道。所以把每个人都想像成一个蚌可能是一种慈悲，至少我们还有一个壳。
我相信每个人的一生，都在学习成为母亲，成为怀珠的老蚌。
A couple of days ago, while rereading “ Dream of the Red Mansion”, I was reminded by the opening line of “Daiyu Enters the Mansion”: “The fledgling swallow has parted from the past, and the lonely girl seeks refuge with her grandmother.” If we say that migration leads Daiyu into the tragedy of the Jia family, does that not also suggest that the fate of the larger environment often connects and drives the personal fate through “migration”?
In my previous exhibition, I attempted to analyse and understand my relationship with Hong Kong from a more macro historical perspective. Although it contained elements of personal history, those seemed to serve only as an implicit thread. In this exhibition, I am trying to start from a more intimate personal and family history, narrating the changes in the relationship between people and places during the process of family migration. Here, “place” might be better understood as a more abstract object, or perhaps as a kind of spiritual landscape. Looking at our family’s migration history, it has always revolved around women—from my grandmother to my mother, and aside from me.
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In Chapter 59 of “ Dream of the Red Mansion”, the metaphor of “pearls and fish eyes” is used to describe young girls and their mothers. Pearls seem to be frequently associated with women, whether in Eastern tales of the clam spirit or in Western classics filled with treasures and promised lands of pearls. Pearls often appear in people’s impressions as pure and sacred, like Venus.
My grandmother reminisced about her early days in Hong Kong, saying it was like Liu Lao entering the Grand View Garden, where everything seemed fresh and new. She described herself as a large clam, dragging along several small clams. Perhaps in her eyes, we were all pearls in her embrace. She carried us from Shanghai to Shenzhen, and then from Shenzhen to Hong Kong. My mother, who arrived in Hong Kong as a young girl, returned as a mother. Over the decades, her relationship with Hong Kong seems to echo a scene from a Cantonese opera she loves to sing: “A Lin sister dropped from the sky.” abrupt yet irreversible.
The connection between individuals and places, in religious narratives, develops vertically, aspiring to connect with the divine through practice. However, in secular life, it indeed expands horizontally: the family unit serves as a foundation, generating a solid relationship between people and places. Like me, like my mother, like my grandmother, we are layers of clams, all pearls to each other.
The combination of horizontal and vertical elements forms a coordinate system, seemingly providing a basis for human existence. Human migration is emotional; trying to explain human movement with cold, serious history feels cruel to me. I appreciate those intertwined and obscure relationships because sometimes they reflect larger historical narratives. In the turbulent flow of time, the fates of individuals and families are so insignificant. Thus, imagining everyone as a clam may be a form of compassion—at least we still have a shell.
I believe that everyone’s life is a journey of learning to become a mother, to become an old clam holding pearls.
SC Gallery
地址：黄竹坑道53号英基工业中心19楼1902
营业时间：周二至周六11:30am–6:30pm
电话：
+852 3795 3826
网站：scgallery.art
