作者介绍

     

    黛安娜-雷是一位出生在马来西亚的华人,她的艺术领域同时涉及影像和图片。在洛杉矶生活学习了12年后去了比利时,最后来到了法国。雷在加州的洛杉矶学习美术。随后进入世界闻名的艺术先锋派学府,位于加州帕沙第纳的艺术中心设计学院,并获得了摄影和美术学士学位。
    在巴黎生活的十多年中,黛安娜-雷给来自欧洲、北美、东南亚等数十家杂志社拍摄照片。除了摄影,她还在油画、笔墨画、木炭画、装置和短片摄制等领域不断探求新的媒介和主题。她举办过数十次的个展和群展,其作品在中国、马来西亚、新加坡、比利时、法国巴黎、墨西哥及委内瑞拉多次获奖。
    黛安娜-雷与位于巴黎的东京美术馆馆长、维多利亚博物馆馆长、位于意大利的Galleria d'Arte Moderna Bologna创意人、位于纽约的创意时代艺术馆负责人和位于德国的kunstwerk艺术馆创意人齐名被由Mandarina Duck所组织的艺术委员会推选为当今最具代表性100个现代艺术家之一。
    她一生中坚持的目标是从14年前开始的,她要带着她的8 x 10英寸取景式相机走遍天涯,记录下在旅程中所遇到的人们,他们的内心、私秘、人性的真实写照。接下来,她把这些图像还原、放大,(有的高至两米)在各种艺术节、画廊、博物馆、多样性艺术空间中展出。
    近期,她的黑白8 x 10肖像获得了第二十届法国布鲁斯杰出青年摄影家奖章,这幅黑白8 x 10肖像同时还为她赢得了柯达影评奖银奖。
    2003年9月正值国际摄影节,黛安娜-雷在风景如画的中国古城平窑(1997年被联合国教科文组织评为世界遗产里程碑)举办了展览。在平窑举办的次此国际摄影节是中国有史以来摄影届最高的一次盛会。随后,黛安娜-雷的当代艺术展览移师北京千年博物馆。
    黛安娜-雷对影像的喜好与其对摄影的偏爱难分伯仲。她更愿意把影像定义为一种“讲述”。最早摄制的两部影片即是对她的黑白肖像的进一步研究。在纽约电影学院的协助下,她的第一部短片诞生与2002年。名为“四位”,通过对卡泼卫勒舞(一种源于非洲把民间舞蹈和自卫动作结合在一起的巴西舞蹈)的描摹,阐述了社会、性别阶级制度的建立。该影片随后入选2002年度法国克莱堤国际电影节。去年她自编自导了一部30分钟的短片,在britanny的brehat岛上摄制完成。这部名为“猴岛”(讲述了精神失常者内心的诗性和理性)的短片将与“四位”同2005、2006年度的肖像摄影作品一起于美术馆和画廊中展出。黛安娜-雷的作品被私人收藏家、博物馆及世界各艺术机构所珍藏。


Diana Lui

    Diana Lui is an artist, photographer, and filmmaker of Chinese origin from Malaysia. She lived and studied in Los Angeles for 12 years before moving to Europe in 1993 (Belgium and France respectively). After studying Fine Arts in UCLA (University California Los Angeles), she transferred to the world-renowned college for avant-garde design and other visual art forms, the Art Center College of Design in Pasadena, California and graduated with a Bachelor's degree in Photography and Fine Arts.
    Based now in Paris, Diana Lui works as a freelance photographer for numerous magazines in France, America, South-East Asia, and Portugal. Despite working as a photographer, she continues to explore new themes and mediums in photography, oil paintings, ink and charcoal drawings, installations and short films. She has exhibited her photographs and art work in solo and group exhibits and won several awards in the USA, China, Malaysia, Singapore, Belgium, Paris (France), Mexico, and Venezuela.
    She was selected together with 100 other artists to represent today's young contemporary artists by the Search for Art Committee (organized by Mandarina Duck) which included curators/directors from Palais de Tokyo, Victoria & Albert Museum, Galleria d'Arte Moderna Bologna (Italy), Creative Time (New York), and Kunstwerk (Germany).
    Her ongoing and lifelong project (which began 12 years ago) is carrying her large 8x10 view camera all over the world to document, what she calls "intimate/psychological/anthropological" portraits of people she encounters during her travels. She then transforms her images into life-size prints (up to 2 meters high) for exhibitions in art festivals, galleries and museums. She hopes to eventually install her work in public places, such as walls along public streets or historical buildings, in churches, abandoned, squatted buildings, billboards, etc; The idea of this public project is to allow people to become aware once again of their primordial existence in this world where their lives are governed daily by racial, social, cultural, political, and economical structures.
    Recently, she won France’s 20th Bourse du Talent (Young Talent Award for Photography) for her black and white 8x10 portraits and she won second place for the Kodak Critics’ Award also for her black and white 8x10 portraits.
    During September of 2003, she exhibited in the beautiful ancient town of Ping Yao in China (classified as a World Heritage Monument by UNESCO in 1997) for the Ping Yao
    International Festival of Photography 2003. This festival is the only one of its kind as there has never been any festival of this scale and popularity dedicated to photography in China in the past. After the festival, her exhibition travelled to Beijing‘s Millenium Center.
    Parallel to her love for photography is filmmaking, or as she prefers to define it as today’s "story-telling". Her first two films are an extended study of her black and white portraits. In collaboration with the New York Film Academy, her first short film was made in 2002. Titled "Four Play", this film reveals how social and sexual hierarchies are established through the capoeira, a Brazilian martial art/dance. Consequently, it was selected for the 2002 Festival Internationale de Films des Femmes at Creteil, France. In 2002-2003, she wrote and directed a 30-minute film which was shot on the Island of Brehat in Britanny. This film entitled "An Island for Monkeys" (an exploration of the poetic and rational minds of the insane) was in post-production until 2004. Both films will be shown in museums and galleries together with her photographic portraits in 2004 and 2005. Diana Lui’s photographic work is collected by private collectors, museums and art institutions worldwide.

/Crits on black and white portraits/

    “Diana Lui’s photographs bring to mind the ancient chinese symbol of harmony, the Yin and Yang, the harmony of the masculine and feminine. Her portraits are a combination of the “hardness” of the 8x10 camera format and the “softness” of her subtle portrayals.
    The camera she works with is considered by most photographers of today’s digital age too difficult to use because of its bulky form, weight and its lack of mechanical flexibility and ease during a shooting session. Yet, this large format camera produces a sharpness and detail that is better than any other camera. In this sense, Diana Lui has a masculine approach, the physical and technical aspect to creating her images.
    On the other hand, the portrayal of her portraits are quiet and understated. She does not use overt gestures or props, nothing that screams, rather, her images speak softly. They are subtle and feminine.
    Her portraits remind me of ripples in a pond. Each portrait is a pond where a drop hits the water at the very center - the subject - then the ripples vibrate from the center and move towards other parts of the pond - the rest of the picture. The subject and his/her environment are simply connected. The environment surrounding each subject contains a minimal of detail, objects that hint only at the essential being of each person photographed. Her portraits show neither too much nor too little.
    Diana’s images bring together the mechanics of her camera, the sharpness of the silver and the mystery and sensuality of the person photographed at exactly the point where the “hardness” and “softness” touch. Here, her images stop and begin to prick your subconscience like a pin, softly, slowly but not so hard that you recoil. In this manner, the viewer finds him/herself drawn irresistibly again and again to the quiet enigma of the portraits.
    In the history of photography, Diana Lui’s work can be compared to that of August Sander’s portraits of the German people. However, where both their black and white portraits are subtle and realistic, Diana takes off from August Sander’s objectivity with a lyricism and sensitivity of her own interpretation. The harmonious combination of masculine objectivity with a feminine lyricism makes her work unique among the world of portrait and art photography today.”
    - Adam Beinash, Photo Editor, Art & Auction Magazine, New York, August 2004
    “Diana Lui’s photographic work is complete and whole (...) Her portraits are an honest exchange and respect for the other, there exists always a human dimension. With a strong personality, she has enabled us to feel this dimension all the while using a classic photographic approach from the 19th century.”
    - Claude Geiss, President of the Jury of La 20ème Bourse du Talent 2003,
Director of Festival Chroniques Nomades
    “A confirmed photographer, of whom any professional photographer can envy the quality, rather than a young talent.”
    - Richard Dumas, photographer, Agence Vu
    “Diana Lui has realized a photographic work which continues the grand tradition of fine black and white portraiture.”
    - Christian Gattinoni, President of the Jury of Kodak’s Critics’ Award 2003,
art critic and editor-in-chief of Exporevue.org

 

 

 



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