冰逸生活工作于北京与洛杉矶之间，她的创作横跨绘画与诗学、文字与书法、装置与表演、自然与文化历史。学者高名潞称其创作为“至广大，尽精微”。
在「心之万象」中，冰逸构建了一场关于人类心智的旅程——在意义、转化与超越的迷宫中展开。绘画因此成为持续而蜿蜒的远行。它是内心的远航，也是在宇宙深度的旅程。 冰逸以纸的干枯与墨的流动为载体，让二者融合化为光芒。
▎囊萤映雪 Fireflies as fire, Snow as light，纸本水墨 Ink on Paper，138 x 68 cm，2025
《囊萤映雪》：冰逸于2025年创作。冰逸通过她标志性的光影层叠，幻影流动的叙事，重新演绎了古代高士“囊萤映雪”的精神。囊萤：晋代学者车胤家境贫寒，无法购买灯油照明。他在夏夜用白绢做成口袋，捕捉萤火虫放入其中，借助微弱的光亮照明读书。映雪：另一位晋代学者孙康在冬季利用雪地反射的微弱光线读书，尽管寒冷刺骨，仍坚持不懈。这两个故事见于《初学记》卷二引《宋齐语》和《晋书·车胤传》。
画面呈现出两个交织的场景：车胤在夏夜的阴影中蹲坐，精致的丝袋中捕捉着萤火虫，那些柔和的光点在他面前的卷轴上轻舞飞扬；另一位学者孙康在冬日的微光中伏案读书，雪地的反射为他的阅读闪烁几乎超凡的光辉。
冰逸超越了单纯的再现；萤火虫的闪烁光点融入了柔和的金色和琥珀色的水墨晕染，而雪的反射则在画面上泛起银白色的光辉，波纹般地扩散开来。夏与冬、光与寒、勤奋与孤独的两种时空交织构成一个冥想般的空间。
绘画中闪耀着坚韧、好奇心和人类精神的光辉持久性。学者的专注不仅是对学习的隐喻，更是对生活中微小光点的象征——无论是萤火虫还是雪的倒影——它们在黑暗和困境中引导人们向光而行。
▎仙山秘境：蓬莱之岛 Penglai Fairyland ，纸本水墨 Ink on Paper，138 x 68 cm，2025
冰逸绘制的《蓬莱仙境》描述的是在海岛上的海上仙山。“蓬莱”最早见于《列子·汤问》，传说位于渤海之中，那里是仙境中永恒的时光的化身，因为“仙人居之皆不死”。 在这些记载中，蓬莱岛是神仙的居所，那里草木长青，楼阁琼玉，宫殿金碧辉煌，仙人们饮玉液、食芝草、乘白鹤来往人间。冰逸的蓬莱仙境仿佛岛屿不是漂浮在海中，而是漂浮在万古飞扬的宇宙之中。这是冰逸特殊的场域化叙事：把一个神话放在宇宙的场景中，让它从一个具体的神仙故事变成永恒的象征。
Bingyi lives and works between Beijing and Los Angeles. Her practice combines painting and poetry, literature and calligraphy, installation and performance, nature and cultural history. Scholar Gao Minglu describes her work as “As vast as it is precise.”.
In "Maze of Mind", Bingyi constructs a journey about the human mind, unfolding within a labyrinth of meaning, transformation, and transcendence. Thus, the technique of painting becomes a continuous and winding voyage. It is not only an inner voyage, but also a journey into the depths of the universe. Bingyi uses the dryness of paper and the flow of ink as her medium, allowing the two to merge and transform into radiance.
Through Fireflies as fire, Snow as light, Bingyi reimagines the timeless idiom “囊萤映雪” through her signature brushwork to create light and brilliance with ink. The painting presents two intertwined scenes:
In one, a young scholar crouches in a shadowed summer night, a delicate silk bag catching fireflies whose soft luminescence dances across the open scroll before him.
In the other, a figure bends over texts in the pale winter glow, the snow’s reflection lending a serene, almost ethereal radiance to his study.
Bingyi’s brushwork transcends mere illustration; the fireflies’ radiance bleeds into soft washes of ink, while the snow’s reflection glimmers in silvery-white brushstrokes that ripple across the surface. The two temporalities—summer and winter, light and cold, diligence and solitude—merge into a single meditative space.
Through this work, Bingyi celebrates perseverance, curiosity, and passion of the human mind. The scholar’s devotion becomes a metaphor not only for learning, but for the quiet illumination of life itself: how even in darkness and devastation, small sparks of light—whether fireflies or reflected snow — guide the mind and nourish the soul. The painting invites viewers to linger, to trace the ephemeral glow, and to reflect on their own inner resolve.
Penglai Fairylanddepicts a sea-island floating in the ocean above which towers a celestial mountain. “Penglai” first appears in the text *Liezi · “Tang Wen” (列子·汤问) as a legendary isle in the Bohai Sea, where immortals dwell — a realm where time is eternal because “those who live there do not die.” According to these early accounts, the island of Penglai is the abode of immortals: the vegetation is evergreen, the pavilions are made of jade, the palaces gleam with golden brilliance; the immortals drink jade nectar, eat the herb of longevity (zhi 草), and ride white cranes between their world and the realm of human beings.
In Bingyi’s Penglai Fairyland, the island is no longer drifting on the sea; instead, it spreads in the vastness of the universe. This is Bingyi’s narrative contextualized by the mind, which turns the magical island from ancient classics into the symbol of cosmological eternity.
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关于艺术家
冰逸1970年代生于北京，2005年获耶鲁大学艺术史与考古学博士学位。其博士论文《重读马王堆》当年为ProQuest全球十篇最受欢迎博士论文之一。
她曾在多个国际机构展出，包括洛杉矶郡立艺术博物馆、费城艺术博物馆、布鲁克林博物馆、今日美术馆、伊斯坦布尔现代美术馆、芝加哥大学斯玛特博物馆、柏林圣约翰教堂、布鲁塞尔Erna Hecey画廊、纽约Max Protetch画廊等。
Born in Beijing in the 1970s, Bingyi achieved her Ph.D. in Art History and Archaeology from Yale University in 2005. Her dissertation Rereading Mawangdui was listed among ProQuest’s 10 of the most-read doctoral theses worldwide that year.
Her works have been exhibited at institutions including the Los Angeles County Museum of Art, Philadelphia Museum of Art, Brooklyn Museum, Today Art Museum (Beijing), Istanbul Modern, Smart Museum of Art (University of Chicago), St. John’s Church (Berlin), Erna Hecey Gallery (Brussels), and Max Protetch Gallery (New York).
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