行羽
Paper art installation, 2021
《行羽》以传统概念上山水卷轴画的样式，在长达11米的空间内展开，观众可以通过从左至右的移动观看方式，收获层层景色。
作品目前常展于龙塘诗社，这个隐于佛山岭南天地内，充满幽朴气味的百年建筑。
In the style of a traditional landscape scroll painting, Fly is unfolded in an 11-meter-long space. Audience can harvest layers of scenery by moving from left to right.
At present, Fly is exhibited in the Longtang Poetry Society, a century-old building hidden in the Xintiandi of Foshan.
画卷上的图案用纸张的侧面勾勒而成，这种形式与传统白描手法不无关联。但当角度变换，观众才看清我们对纸张习惯认知中的“正面”。
The pattern line on the scroll is consist of the side of paper, a form that is related to the line drawing in traditional ink and brush style “Baimiao”. But when the perspective changes, the audience can see the "front" of the paper in our habits of perception .
纸张正面被裁剪的起伏，比基于平面的白描作品多了一个维度。在这个维度上，粉丸创造着连绵起伏的山峦，模糊了架上作品正面与侧面的关系，也拓宽了白描和剪纸的边界。
The undulation of the front of the paper cropped, giving it an extra dimension than the flat-based sketch works. In this dimension, Fenwan creates rolling mountains on paper, blurring the relationship between the front and side of the works on the shelf, and broadening the boundaries of paper cuts.
Manuscript from Chen Fenwan.
而由于龙塘诗社狭长的内部空间，观众无法从远处一览作品全貌，而是要以从左至右这样移动着的观看方式，逐步解锁细节。而这种方式我们其实是熟悉的：正如传统的山水卷轴画被缓缓摊开，一种带有东方风格的视角——对作品与龙塘诗社之间相互影响的思考，贯穿粉丸的创作过程。
Because of the long and narrow interior space of Longtang Poetry Society, the audience cannot see the whole artwork from a distance. Instead, they have to move from left to right, gradually unlocking the details. This approach is familiar to us: just as a traditional landscape scroll painting is slowly unrolled, an Oriental perspective -- the reflection of the interaction between the artwork and this old building runs through Fenwan‘s creation process.
Sketch of Cranes.
同时，粉丸加入高饱和度的鲜亮颜色，来呼应霓虹灯——当代都市的白描。现代生活与古代生活最大的不同是现代人开发了夜晚的时间维度。作品借用纸这个有历史的媒介，在当下发起一场对话，重新理解传统延续下来人对于生活的美好构想，用纸张模拟“古人的霓虹灯”，在文物建筑里架起一个跨越时空的招牌。
At the same time, Fenwan added with a high saturation of bright colors to echo neon, a contemporary urban depiction. The biggest difference between modern life and ancient life is that modern people have developed the time dimension of night. The work uses paper, a historical medium, to initiate a dialogue in the present, to re-understand the beautiful conception of life of people who have inherited the tradition, to simulate "the ancient neon light" with paper, and to set up a signboard that spans time and space in such cultural relic building.
画卷上不同部分景色亦具有前后关系，分层吊挂。
Different parts of the landscape on the scroll also have a relationship between front and back, layered hanging.
不少的图纹融入自龙塘诗社建筑表面的浮雕。
实际上，丸工作室的位置就在作品附近，步行可达。在《行羽》之前，常展于此处的作品《凤凰》也同样来自于粉丸。出于这些创作机遇与个人喜好，粉丸一次次地进出于诗社的旧高木门，也在流连佛山老城区各处的同时，好奇地吸收着这些悠久、无声的故事。
Many of the patterns are inspired by the reliefs on the building surface of Longtang Poetry Society.
In fact, Fenwan's art studio is located within walking distance of the work. Before Fly, another work "phoenix", which was often shown in the same place, also came from her. Due to these opportunities and personal preferences, Fenwan went in and out of the old high wooden door of the Poetry Society again and again. She also traveled around the old blocks of Foshan central, absorbing these long and silent stories with curiosity.
Phoenix, Chen Fenwan, paper art installstion, 2017
花絮
Sidelights Before Exhibition
《行羽》的制作对于已经常常接触纸张的工作室团队来说，仍然是个崭新的挑战。正如观众所看到的景色，纸张边缘与亚克力片的接触面积也仅仅只有蜿蜒的线条，所有器具的尝试都需要非常耐心。
纸张的正面与侧面在手心间来回变换，弯腰粘贴或抬首吊挂时，凝神看见忽高忽低的彩色边缘像山峦也如海岸线。这幅跨越时空式的画卷也重新让我们认识纸张。
Fly was a very new challenge for the studio team even though we often worked with paper . As the pattern lines that audience can see, the contact area between paper edge and the acrylic sheet is only a winding line, all appliance attempts need to be very patient.
The front and side of the paper change back and forth between our palm of hand. when we bended over to paste or lifted our head to hang, we concentrate on seeing the color edge rise and fall like mountains or shorelines. This work that spans time and space also lets us know paper again.
