格雷戈里·德拉哈巴（Gregory de la Haba，1979 年生）是一位常驻纽约的跨学科艺术家、作家、策展人和文化创作者。毕业于哈佛大学并接受过古典美术训练，他以多种媒介创作，探索赌博、男性气质、能量以及“杜恩德”（duende，一种与深层艺术表达相关的情绪高涨状态）等主题。他的实践常从个人经验出发，同时回应更广泛的文化议题。他长期活跃于纽约艺术界，并在全球多地的画廊、博物馆和双年展中展出。除创作外，德拉哈巴还策划展览、组织文化项目，并与众多艺术家和机构合作，使其实践在个人体验与更宏观的文化感知之间建立起深层联系。在此次广州呈现的 “Locus of Being” 系列中，形式成为专注内省的场域。线条不再作为界定他方领域的边界，而是化为一种视觉回响，对都市空间中微妙的振动作出回应——信号、流动，以及由密集人类活动所产生的环境能量。这种能量究竟是一种“存在”，技术余波，还是集体想象的印记，刻意保持开放与未定。

作品中反复出现的形象与符号——如今已成为德拉哈巴视觉语言的重要特征——点缀于画面之上。层叠的涂鸦与广告片段构成都市性的重写稿，留下运动与使用的痕迹。每件四联画两侧伫立着类似毕加索小丑的双人形象，宛若默默守望的哨兵，标示着从表层进入深处的门槛。两者之间出现一台似显似隐的随身音响，其形态时而凝聚，时而消散，更像是一种调节画面中心频率的声调装置，而非具象物体。通过物质、符号与心理层面的交叠，德拉哈巴构建出不求单一诠释、而是邀请观看者深入思考的图像。此次广州展出的作品鼓励观众以自己的节奏去经历这些多重现实，在感知、记忆与想象的交错处寻找意味。

Gregory de la Haba (1979) is a New York–based interdisciplinary artist, writer, curator, and cultural producer. A graduate of Harvard University and trained in classical fine art, he works across multiple media to explore themes such as gambling, masculinity, energy, and duende—a state of heightened emotion associated with profound artistic expression. His practice often draws on personal experience while engaging broader cultural issues, and he has long been an active figure in the New York art community, exhibiting internationally across galleries, museums, and biennials. Beyond his studio work, de la Haba has curated exhibitions, organized cultural programming, and collaborated widely with artists and institutions, shaping a practice that connects lived experience with a broader artistic and cultural sensibility. In the Locus of Being series—presented in Guangzhou—form becomes a site of concentrated introspection. The line no longer acts as a boundary defining alternate territories; instead, it functions as a visual echo of the subtle oscillations permeating urban environments: signals, currents, and the ambient charge generated by dense human presence. Whether this energy should be understood as a kind of presence, a remnant of technological activity, or an imprint of collective imagination remains intentionally unresolved.

Recurring presences and symbols—now characteristic of de la Haba’s visual vocabulary—punctuate the surface of these works. Layered graffiti and fragments of advertising create an urban palimpsest marked by movement and use. Each four-panel composition is flanked by two figures reminiscent of Picasso’s harlequins, standing as quiet sentinels at the threshold between surface and depth. Between them sits a boombox rendered with shifting clarity, at times emerging and at times dissolving, functioning less as an object than as a tonal device modulating the work’s central register. Through this interplay of material, symbolic, and psychological layers, de la Haba constructs images that invite contemplation rather than assert fixed meaning. The Guangzhou works encourage viewers to navigate their layered realities slowly and intuitively, discovering the spaces where perception, memory, and imagination intersect.