型势的格律

格达的作品是城市景观和自然田野的结合，是在虚拟时空中的预设和现 代化图像制成的结合，是机械制造和手工劳作的结合，是无形的感受被思维 揉炼之后逐步精简渐渐成型的过程。

她的作品让观众沉浸在由精密的空间尺度，细腻的灰度所传达的沉静 中，在沉静中感受到艺术家不懈的努力与追求着平静、纯真的美所带来的满 足和喜悦。 在过程中格达逐渐归纳和建立起自己独到的视觉语言系统，这套 系统本身也是平静，纯真并且具有纪念碑式的崇高感。

格达的作品也许乍看之下使人觉得毫无主观性，但当你面对这些严谨的 作品仔细审视，就会慢慢发现这 些作品正展现着她是如何在自己的艺术创作 中抛却“骄傲”和“自我”，考量着主观与客观的交界，具体地表现着最细 微的情感，并且为了这份严谨而做出的不懈努力。也正因此她的创作反而带 有着强烈的潜在主观性。

格达“惜墨如金”般的使用画幅和色彩，有效的暗示着某种画幅范围之外 的视觉延伸，让作品的形和型做到了彼此自我满足，引导着脑海里浮动的场景 和情境逐渐归结成一种清晰的形态。在保持着自己的规则的同时具有开放性。

从一个空白到另一个空白，从一条线段到下一个交叉点的过程里，让光 线、周围的空间环境和观众自己的视角共同参与其中，完成每一次的观看体 验。如同研习书法时使用的田字格和围棋的棋盘一般，让每个参与者依据个 人经验在一套简单重复的完整系统中变化出无穷尽的内容篇章和各自进退的 路径，让个人的经验通过观看和想象得以被展开被阅读，证明着这份清晰是 一种对永恒的追求，而不只是为了一个可以到达的明确终点和答案。

Rhythms in Potential

Gerda’s work is a fine combination of urban landscapes and natural fields, of virtual space and modernized image, of mechanical production and manual labor. It is also a process wherein intangible feelings slowly take shape, and are ever refined by thinking.

Her works immerse the audience in the tranquility conveyed by the precise spatial dimension and delicate grayscale. In the process, Gerda has gradually developed and established her own unique visual language system, which speaks of serenity and innocence. Her artistic persistence and pursuit of calm and purity have succeeded in bringing the audience a sense of joy and satisfaction.

At first glance, Gerda’s works may appear to be devoid of subjectivity. Yet, when one comes closer and looks closely at these rigorous works, one realizes how she has decided to abandon “pride” and “self” in her artistic creation, a prod- uct of consciousness and choice. For Gerda, the boundary between subjectivity and objectivity is a matter of constant consideration. She learnt to express subtle emotions in a concrete fashion, at the same time continuing to make every effort for precision. It is for this reason that her works in fact embody a strong, and subtle, sense of subjectivity.

As the Chinese saying goes, “One regards his ink as if it were gold”. Gerda’s use of frame and color is minimal, however, it is effective in implying a certain visual extension beyond the scope, allowing the shape and model of a work to come together. It gives a work its form, its dimension. Gerda maintains her own rules while being open.

In the process of going from one blank to another, from one line to the next intersection, Gerda aligns the audience with light and surrounding space, in their coming together of what reveals itself to be a unique experience with its own per- spectives. Imagine in a simple and repetitive system, like the calligraphy mats or Go boards for instance, how participants change their movements, chapters, or paths of advance and retreat as per their personal experience. Gerda’s work unfolds itself through personal experience which is then delivered to our eyes and imagination, and allows our personal experience, our own movements, chapters or paths to intervene. In such a way, her process of bringing ‘us’ together request no definite answer nor an end, but a pursuit of openness.