Liao Wen 廖雯
The Ladder to the Moon 月梯, 2021
lime wood, garnet, iron oxides, Himalayan salt, volcanic rock, epoxy resin, silicone, jute rope, roots of trifoliate orange, and other mixed materials 椴木、石榴石、氧化铁粉、喜马拉雅盐、火山岩、环氧树脂、硅胶、黄麻绳、枸橘根，及其他综合材料
200 x 66 x 266 cm
78 1/2 x 26 x 104 1/2 in
(height variable 高度可变)
78 1/2 x 26 x 104 1/2 in
(height variable 高度可变)
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'The Ladder to the Moon' is a lyrical association of the female body with the cycles of the moon. It is inspired by the ancient Babylonian worship of Ishtar, the...
'The Ladder to the Moon' is a lyrical association of the female body with the cycles of the moon. It is inspired by the ancient Babylonian worship of Ishtar, the goddess of the moon. Ishtar is the ancient archetype of the Great Mother Goddess, who possesses multiple contradictory energies: she is both bright and dark, nurturing and destructive; she is both the lover and mother of the fertility god Tamuz. This goddess of the seasons embodies all the possibilities of femininity while encompassing the changes of age. The hanging blood moon holds the waters of the female body in a tidal wave. Menstruation performs variations on a theme, spurting in the reds and weakening in the browns of the soil. The splashes of red carry on a primal human perception of blood, mysterious yet dazzling. The blood overflows into the earth, gathers into streams, converges into lakes, and finally percolates into the volcanic rocks like roots, as if returning to the place of departure.
《月梯》是关于女性身体与月亮周期的抒情联想。其灵感来源于古巴比伦人对月亮女神伊斯塔尔的崇拜。伊斯塔尔是古老的大母神原型，她拥有多重相悖的能量：她既明亮又阴暗，既孕育万物生长又具有破坏力；她既是生殖神塔穆兹的情人，又是他的母亲。这位时序女神具备了女性所有的可能性，同时也涵盖了所有的年龄变化。悬挂的血红满月牵连着女性身体之水，潮汐般地涌动。月经如同一场变奏曲，喷薄于嫣红之中，渐弱于泥土棕。四溅的红携带着人类对血液的原始感知，神秘而令人目眩。血液流溢入土地，聚成溪流，汇向湖泊，最终如根须一般沁入火山岩，好像回到了出发之地。
《月梯》是关于女性身体与月亮周期的抒情联想。其灵感来源于古巴比伦人对月亮女神伊斯塔尔的崇拜。伊斯塔尔是古老的大母神原型，她拥有多重相悖的能量：她既明亮又阴暗，既孕育万物生长又具有破坏力；她既是生殖神塔穆兹的情人，又是他的母亲。这位时序女神具备了女性所有的可能性，同时也涵盖了所有的年龄变化。悬挂的血红满月牵连着女性身体之水，潮汐般地涌动。月经如同一场变奏曲，喷薄于嫣红之中，渐弱于泥土棕。四溅的红携带着人类对血液的原始感知，神秘而令人目眩。血液流溢入土地，聚成溪流，汇向湖泊，最终如根须一般沁入火山岩，好像回到了出发之地。