“體向·關系”這一系列作品是“體向”系列作品的延續，整體風格一脈相承，作品所呈現的是我關于藝術諸多方面的思考，包括：為什么這樣畫；怎么畫；探索的價值；堅持的意義。我的關注點是人的內在世界，以身體元素組構畫面，以求挖掘人真實的內在景觀。
減法，是我在繪畫語言方面一直運用的手段，就像在拆一個房子，到最后只剩下幾根不能再舍去的脊梁，然后以我簡練的眼光重新去測量和架構，或許它們看起來只能夠容納躲雨和休憩的小鳥，但它可能是一個瓜棚，環繞它周圍的大片的莊稼和天空才是我想要的內容。
這批作品運用了黑白灰調，當沒有了豐富的其他色彩，畫面的空間轉換關系就顯現出來了，一根線尖銳地把畫面分割開來，兩個陌路相逢的人開始在相鄰的舞臺表演，他們有時候互相介入對方的領地，有時候并不介入，彬彬有禮，或近或遠，大多時候雙方的關系是失衡的，因為碰到兩個相同的人并用相同的方式互動是很小的幾率。我喜歡在畫面里鋪開時間線，色調的變化、線的節奏的急促和緩慢以及形狀的變化都暗合了時間。
沒有了鏡子，我們用眼睛看到的自己只能是軀干和肢體，確切說，是肉，它們每天被我們所支配，我們也體驗著它的沉重感，它既不能逃離我們，也沒法脫離骨干的控制，所以，我喜歡解放它們。畫布就是我們觀察自己身體的所及之處，肉體在這不足一平方米的視力范圍內開始躲藏、扭曲變形、相互交疊、拼接斷裂、翻轉蔓延......觀摩自己的游戲結束了�，F在，畫面上兩個身體在互動，更為復雜，就如同人與人相處的現象，如果不在密切接觸中陰陽交替，就會在時間里四季輪換，這就構成了人的社會性。
“體向·關系”這一階段作品的創作基礎和方向不太合拍，因為之前更多的以形式上的探索和實驗為主，而這一階段就追隨著現實的腳步玩了一圈游戲，在一個不斷吶喊創新的時代，我認為堅守的過程中必然有某種悄然生長的氣息引領著我進入下一個密道。
——秦姣姣
This series of works titled "Body Orientation & Relationship" is a succession series of "Body Orientation", and the overall style is consistent in each. These art pieces represent my thinking relating to various aspects of art, including my motives to draw this way, method of drawing, the value of exploration and the meaning of persistence. My focus is on the inner world of people, and the body elements constitute the image, in order to directly explore the real inner landscape of people.
Subtraction is a method that I always use in my painting language, just like demolishing a house, at the end only a few elements stick to the backbone, and then I use my vision to re-measure and re-structure in a concise way. Maybe all that is left in this world is a small house able to provide shelter for the birds to rest. This place could be surrounded by the watermelons field, the vast field of crops and sky and that is precisely what I am interested in.
The art works of this series use black and white and gray tones. When there is no rich color, the spatial relationship of the picture is emphasized. A sharp line cuts the frames apart, like two strangers starting to perform together on a stage. Sometimes they step into each other’s territory, sometimes not, politely touching upon each other’s space, near or far. Most of the time the relationship is out of balance because there is a little chance of meeting the same people and interacting in the same way again. I like to stretch out the time in the painting. The change of color, the speed and the tempo of the line and the change of shape all hide the time.
Without mirrors, we can only see ourselves with our eyes as bodies and limbs, or rather as flesh. These elements of our bodies at our mercy every day, and we experience their heaviness, and they can’t escape us, they can’t escape the bones, so I like to liberate them. The canvas is the place where we observe our bodies, beginning to hide, distorting, overlapping, splicing and breaking, overturning and spreading within the visual range of less than one square meter.The self-observation is over. Now, the two bodies are interacting in the image, which is more complex, like the phenomenon of people getting along with each other. If they do not alternate in close contact, they alternate in the seasons, and this constitutes human society.
The creation basis and direction of "Body Orientation & Relationship" series of art works are little out of touch with each other, because the previous works were mainly explorations and experiments, and this stage plays maverick with the reality. In an era of constant innovation, I think that there must be some quietly growing breath leading me to the next secret path.
——Jiaojiao Qin
譯者:莫籽 Irina
