阿墙 Hello, Walls

Installation, 2022

 丸丸的「剪墙皮计划」：

“太平墟建筑留下的痕迹，是时间在事物上做的“镂刻”，它似某个时刻历史推进的那一刀。我用剪纸临摹太平墟老街剥落的墙皮，给它们取了曾经居民的名字。最终创造出一个在地性历史时刻的集合，和老墙里的树根一起生长成树，通过机械运动方式，这些记忆的碎片，在空间中不停运转，闪烁重叠。”

"The marks outside the buildings of Taiping Street are the "carving" made by time. It is like a knife thrust by history at a certain moment. I used paper cuttings to copy the peeling walls here and gave them nicknames of former residents. The result is a collection of earthly historical moments that grow together with the roots in the old walls into trees, and through mechanical motion, these fragments of memory move through space, flickering and overlapping."

粉丸的两件作品《阿墙》《大地窗花》都在广东南海大地艺术节2022中展出。它们位于南海西樵镇中的太平墟，是本次大地艺术节选定的八大展览区域之一。

源于大地艺术节的在地性任务与目标，作品的创作脉络与当地历史风貌息息相关。从五月份粉丸接到组委会的邀约、开启多次考察与创作，再到冲刺落成，历经半年之久。

Two of Fenwan's works, Hello, Walls and Paste the Paper-cut to the Earth’s Window, were exhibited at Guangdong Nanhai Art Field 2022. They are located in the Taiping Street in Foshan of southern China, one of the eight exhibition areas selected by the committee.

Originating from the located task and purpose of the Nanhai Art Field, the creation of the works is closely related to the Taiping Street’s historical features. From the day Fenwan received the invitation of the committee to the two artworks finishing, it took half a year.

太平墟临靠西江，作为粤西与粤东之间的水路节点和周围相邻的集市，曾是一个商贸繁华的墟市兼村落。随时间与当时规划的变更渐渐式微为旧墟，如今几近荒废。整个作品筹备过程中，团队前往考察超过十次。碰见晴朗、阴雨、白天与深夜，从陌生到熟悉。

The Taiping Street was once a bustling market and village near the Xijiang River, serving as the waterway junction between the western and eastern parts of Guangdong China and the surrounding markets. Over time and changes in the planning of the government it gradually became an old town, now almost abandoned. During the whole preparation process, the artist team visited there more than ten times. We met sunny and rainy hours, day and night, being from strange to familiar.

多次行走在太平墟，我们拍了很多照片。后来慢慢细看，粉丸才发现几乎每一张照片里都有缺失的墙皮， 而且沿街本来也有非常多警示牌提醒过路的人：外墙剥落，请勿靠近。这是《阿墙》方案的起始。

Many times walking in Taiping Street, we took many photos. Later, the artist found that almost every photo had a missing wall skin, and there were many warning signs along the street to remind passers-by: the wall is peeling, do not go near. This was the beginning of the artwork.

收集这些墙皮，并一一临摹镂刻成剪纸，再悬挂聚集成为一件大型的空间作品 —— 这同时是非常陈粉丸的“二手材料”创作逻辑。而墙皮剪纸中镂刻的一个个名字，同样与在地记忆产生着呼应。阿强、阿燕、小梁、琪琪…… 这些耳熟能详的“岭南”昵称，来自粉丸通过艺术节组委会获取的一份曾经住在太平墟的居民名单，她希望借此给每一片收集的墙皮「命名」。

These shape of the wall skins were collected, copied and carved into paper-cuts one by one, and then hung and gathered into a large spatial work -- this is also a very characteristic "second-hand materials" creation logic of Fenwan.

最终，超过600片墙皮剪纸通过串联和悬吊，重新聚集在太平墟南街39号。“记忆的碎片不停运转，闪烁重叠”是粉丸在形成方案时就预设的画面，通过选用亮银镜面纸，与每串剪纸顶部的编程电机的牵引来实现转动。

These shape of the wall skins were collected, copied and carved into paper-cuts one by one, and then hung and gathered into a large spatial work -- this is also a very characteristic "second-hand materials" creation logic of Fenwan.

同时，空间中还加入了革新的无限层叠结构，从地面生长至高处。这些“树干”的存在与墙皮剪纸共同形成「榕树」的意象，数百串剪纸则犹如榕树的气根，独木成林。榕树的形式感是粉丸在推进作品方案的过程中慢慢浮现的，它作为岭南地区极具代表性的植物，能够长出密密麻麻的气根，甚至纠缠落地、成为另一棵树干。

对她而言，榕树强势的生命力和「剥落的墙皮」与「曾经的居⺠」这两个因素是相反的， 三者并存，是辩证的。 “因为我本意并不是在表达一种怀旧的情绪，所以榕树的生命力能帮助我稀释一些没必要但很可能出现的伤感。“

At the same time, an infinite cascading structure was set in the space that grows from the ground to the heights. The existence of these "trunks" and all paper wall skins together form the image of "banyan tree". Hundreds of paper-cuts are like the air roots of the banyan tree, forming a forest from a single tree. The idea of banyan tree emerged slowly in the process of the project. As a very representative plant in Lingnan area, Banyan tree can grow dense aerial roots, and even become another tree trunk.

For her, the strong vitality of banyan tree are the opposite factors with the peeled wall skins and former residents , and the coexistence of the three is dialectical. "Since I didn't mean to express a nostalgic sentiment, the banyan tree's vitality helps me dilute some unnecessary but likely sadness. "

 “大地艺术节的作品是面对更广泛群体的。是给观众的，更是给那些第一次当观众的人的。 这个作品依然有关于回忆，我希望用个体的微观叙述，去讲一个有集体共鸣的故事。“ 

“The Art Field works for a wider audience, especially for the first-time audience. This work is still about memories. I hope to tell a story with collective resonance through micro and individual narration . "

后记：用艺术创作和南方的土地江河交织，把心中酝酿的冲动流淌成现实。

——《阿墙》粉色花絮

With art and the southern lands and rivers interwoven, I ferment my creative impulse flow into reality:

the pink stories behind Hello, Walls.