In the Rose Rose  photography series, every rose has been sewn together.


Roses are normally showy, dazzling spectacles, but the stitches on the petals here present us, through an infinitely serene approach, with an unadorned display of injury.


Maybe the stitches are there to keep the roses from withering and to extend the time before they bloom? Maybe the stitches are there to solidify their beauty?

At that moment when the needle penetrates the flower petals, the small cuts that appear bring feelings of shame and remorse, as if we are watching wings broken just as they are about to take flight. There is a persistent heaviness here, an inescapable feeling of helplessness.


Regardless, those glaring stitches, stuck so deeply into the flower petals, create a sense of dynamic injury taking place upon a static exterior. Under the warm gaze of light, these wounds tell of unfathomable contradictions.


That light in the darkness – that’s right, I designed that theatrical lighting – is it a penetrating gaze, or just mere perplexity?


 “Things” have memory. I’ve been obsessed with this memory ever since I painted the first of the Dress  series. Its murky air can represent very personal memories, or the cultural memories of a generation. It can bring a sense of belonging to every ordinary moment, or it can bring about inexplicable terror. For a brilliant, radiant life, it is more like a cruel joke.


One must know that life is very fragile, very easily damaged. Violence, imprisonment, even persistence can turn into the most dangerous and unseen form of injury.


Though roses have sharp thorns, they are fragile. They are innocent and helpless. They look uneasily towards the uncertain future. They are wholly unprepared to be harmed, and they cannot take it.

Hope and hopelessness, love and pain, life and death, struggle and surrender, nurturing and destruction…only a fine line stands between them.



Lin jing jing Notes on " Rose Rose " 




<< 玫瑰 玫瑰 >> 创作手记 (林菁菁)



系列摄影中的每一朵玫瑰都是缝合过的玫瑰,玫瑰本是艳丽夺目的, 而玫瑰花瓣之上的缝合, 以无限平静的方式, 将毫不掩饰的伤痕平铺在我们面前。







无论怎样, 那些历历在目的针脚, 深深地扎进鲜艳的花瓣, 它静态的物质外观提示着一种动态的伤害, 伤口在无限温情的光源下, 倾诉难以适从的不安和矛盾.


那黑暗中的光, 对,我设计了那些眩目的剧场似的光,它到底是一种咄咄逼人的窥视,还是一份说不清的迷惘?


是有记忆的,从我画《物语》的第一个系列开始,我就着迷于这种记忆,它朦胧的气息, 可以代表一份非常私人的记忆,也可以是一代人的文化记忆, 它可以让所有平凡的瞬间都变得有归宿, 也可以引发一种不知所措的惶恐,这对于鲜艳夺目的生命本身来说, 更象是开了一个残酷的玩笑。


要知道,生命非常脆弱, 非常容易受到伤害, 暴力,禁锢,甚至坚持,都可以变成最危险最不被察觉的伤害.


玫瑰虽有看似锋利的刺,实际却娇嫩易碎,无辜无助, 对未来充满了忐忑而不切实际的期待,对于伤害即毫无防备,也无力承当。


希望和绝望, 爱和伤害, 生命和死亡, 抗争与放弃, 呵护和摧毁……都只有一步之遥.