剪是一种破坏吗？

剪纸是陈粉丸的艺术实践，而剪指甲、剪头发则是她日常生活中反复发生的动作。这种看似随意、搞怪的并置并非玩笑，它揭示了“剪”如何从一种技法转化为贯穿陈粉丸创作与生活的共同经验。

无论是剪纸，还是修剪指甲和头发，所面对的都是一种持续的取舍：去除冗余，保留必要。剪纸剪下的是“创作废料”，通过舍弃来创造；而剪指甲和剪头发则是摒弃“身体废料”，重新塑造自己身体的边缘。

对于陈粉丸而言，“剪”这一动作固然与失去、消失与告别相连，但同样与拥有、更新和初见密不可分。我们通过失去，获得新的形态。

Is cutting a form of destruction?

For Chen Fenwan, papercutting is an artistic practice, while cutting her nails and hair are repetitive gestures in daily life. This seemingly casual—even playful—juxtaposition is not a joke; it reveals how “cutting” shifts from a technique into a shared experience that runs through both her artistic practice and everyday life.

Whether in papercutting or in trimming nails and hair, what is at stake is an ongoing process of selection: removing the superfluous and retaining what is necessary. In papercutting, what is cut away becomes “creative residue”—creation emerges through acts of subtraction. In contrast, cutting nails and hair discards “bodily residue,” reshaping the edges of one’s own body.

For Chen Fenwan, the act of cutting is indeed tied to loss, disappearance, and farewell—but it is equally inseparable from possession, renewal, and first encounters. Through losing, we arrive at new forms.

01 手的练习

剪的练习，从手开启。

手是人类最原始的媒介，承载着本能、情绪与无声的表达。从童年的手影游戏，到成长中的肢体触碰；从挥手、拥抱间的相聚别离，到使用工具时的裁剪取舍，我们的双手始终在与世界产生联结。

手是陈粉丸常用的创作符号，手影、挥手、手印、手语、掌纹，她以丰富的手部动作和意象为创作锚点，将私人的成长记忆、不言自明的情感启蒙，凝练为可视化的艺术语言，引起观众的共鸣。

01 The Hand

The cutting exercise begins with the hand.

The hand is humanity’s most primal medium, carrying instinct, emotion, and silent expression. From childhood hand shadow puppetry to the bodily touch of growing up; from meetings and farewells conveyed through waving and embracing, to the acts of cutting and choosing involved in using tools, our hands have always served as a means of connecting with the world.

It is also one of Chen Fenwan’s creation signs. Hand shadows, waving gestures, handprints, sign language, palm lines—through a rich vocabulary of gestures and hand imagery, she uses the body as an anchor for creation, distilling personal memories of growth and unspoken emotional awakenings into a visual language that arouses emotional resonance with viewers.

03 无限的练习

纸，扁平又轻薄，在粉丸的创作里，经由反复的翻折与雕刻，延展出空间、叙事与情绪的无限可能。她以纸张为创作媒介，不断探寻有限与无限的平衡边界：以极易破损、受潮和弯折的纸张追逐永恒，在脆弱材质与坚定信念的对抗之间，袒露创作最天真的野心。

所谓“无限”，是纸张蕴藏的无限可能，是艺术家无限伸展的想象力与创造力，是作品没有终点的生长走势，更是世间万物不止不休的联结牵引与同频共振。

至此，“剪的练习”抵达完整闭环：始于手的动作，经由身心的觉察，最终归于无边无际的精神求索。

03 Limitless Exercises

Paper—flat and delicate—unfolds within Fenwan’s practice into infinite possibilities of space, narrative, and emotion through repeated folding and cutting. Using paper as her primary medium, she continually explores the fragile boundary between finitude and infinity: pursuing permanence through a material easily torn, dampened, or bent, and revealing the most innocent ambition of creation through the tension between vulnerable material and unwavering conviction.

The so-called “infinity” resides in the limitless possibilities contained within paper, in the artist’s endlessly extending imagination and creativity, in the open-ended growth of the work’s structure, and in the ceaseless connections and resonances that bind all things in the world together.

Thus, Cutting Exercises arrives at a complete closed loop: beginning with the movement of the hand, passing through awareness of the body and mind, and ultimately returning to boundless spiritual exploration.