周妍的绘画一直以来与内观体验有很深的连结，通过内观体验深度挖掘记忆中遗留的碎片，加以再次处理，将捕捉的感受通过特定的“物”传达在画面之中。这些有代表性的“物”比如从一开始就出现在画面中的肉块——消费文化中需要被加工制作、任意切块的消费品；逐渐在画面中出现的各种烛火——在燃烧的状态下与外部世界形成互动塑造边界感，等等。这些“物”在周妍创作中从一开始成为直接表达个人情绪的载体，到新的创作中更加成为一种客观脱离，包裹着情绪的皮肤，以及正在向未来转化的逐渐在画面中感受到的场，周妍作品的叙述能力逐渐丰富。
Zhou Yan's paintings are deeply intertwined with the experience of self observation. Through the introspective process, fragments of memory are unearthed and reexamined, with emotions being channeled into the canvas through specific "objects." Notable among these objects are the recurring images of meat, symbolizing consumer goods that are processed and fragmented, reflecting the feeling of being commodified in consumer culture. Another key image is candlelight, which interacts with its surroundings as it burns, shaping a sense of boundaries. These objects serve as vessels for expressing personal emotions and, in Zhou Yan's recent works, have evolved into a more objective form — the image has become more like a skin-like surface that wraps the emotions within. The transformation of the image hints at Zhou Yan’s creative process towards the future, which is changing from only portraying the object to more about painting a story and forming an energy field. This transformation has enriched the narrative depth of Zhou Yan's work.
新作品中除了表达情绪的方式变得逐渐客观，画面也逐渐涌现了一种舒适感。这也与对情绪本身的探讨有所连结。情绪在记忆中藏匿，以及受到大脑的关注过久，逐渐形成让人沉溺的舒适区，最终被选择根植在某段记忆之中。如同作品名，抑郁的剖析，这些打乱原本情绪秩序的“结”创造舒适区让人沉溺其中、困惑郁结，这种体验是人在生命中无时无刻不在发生的。从心理学的角度，有时我们在舒适区中寻找丢失的那部分客体对我们的安慰，从艺术的角度，艺术家会选择性从中萃取灵感，最终都难以从这种舒适区真正逃离。这也是周妍现在画面中体现的某种慢性的、具有心理启发性和矛盾感的观感体验。
In the new pieces, there's a noticeable shift toward a more detached emotional expression, where a sense of comfort begins to emerge. This theme is closely related to the nature of emotions themselves. When emotions are hidden in memory and continuously revisited, they create a comfort zone, a mental space where one becomes ensnared, ultimately anchoring them to specific memories. The work title "The anatomy of melancholy" exemplifies this, illustrating how disrupted emotional states can form a comfort zone, leading to confusion and depression. This experience is a common thread in human life—seeking solace in lost objects within the emotional comfort zones. From an artistic point of view, artists will often selectively extract inspiration from it, and in the end it is difficult for all people to truly escape from this comfort zone. This is also a kind of chronic, psychologically inspiring and contradictory viewing experience reflected in Zhou Yan's current paintings.
将展览命名为我是你的容器，周妍的绘画一直探讨内部与外部的关系，展现的情绪不仅是自我更是公共情绪，我们既是个人情绪的容纳物，同样吸收和承载外部所带来各种各样的触动，新作既是艺术家私密情绪的分享也是与观者参与互动之间，互相容纳共享当下时代的体验。
The exhibition title, "I'm your vessel," reflects Zhou Yan's exploration of the relationship between the inner self and the external environment. The emotions depicted in these works are not just personal but also resonate with collective feelings. We are not merely containers of our emotions but also absorb and carry the influences of the external world. In these new works, Zhou Yan not only shares private emotions but also engages in a dialogue with the viewer, creating a shared experience that reflects the complexities of the contemporary time we inhabit.
