对称系列

Series of Symmetry

Paper cutout on canvas, 2022

自2022年初至今，粉丸持续创作了一系列在油画布之上进行剪纸拼贴的作品。多彩而密集的剪纸色块成为了包围人物肖像的肌理，通过分解性的数字刻画手法，将艺术家本人及身边人的肖像以另种形式再度具象化。

Since the beginning of 2022, Fenwan has been focused on a series of paper-cut collages on canvas. Dense paper-cut color blocks become the texture surrounding the portrait of the figure. Through the decomposition of the digital depiction, the portrait of the artist herself and the people around her is reified in another form.

在这一系列之前，粉丸的作品中几乎没有过如此密集地将面孔作为作品的关注对象。起初，她将自己作为刻画素材，接着是周围一起工作的人—— 她认为所能“接触到的最近距离的面孔”。甚至这是第一次集中于架上的尝试，与过往粉丸所擅长的大小型空间创作都不尽相似，油画布面上的空间只是往上延伸，拥有单向的坐标轴。

Before this series, few of the works of Fenwan have focused so intensively on faces. First, she used herself as the subject, then the people she worked with, whose faces that are the most familiar. Even this is the first time for her to concentrate on canvas. Not similar to the large or small installations, the space on canvas owns a unidirectional coordinate axis.

当观众注视这些作品，不再只有单方面的视线产生。作品与观众之间将是彼此的陌生人，来自一双陌生面孔的目光，会在对视时产生彼此对称的张力，使得观看过程有了浪漫的流动性。

这正是这一系列作品暗含的线索主题：「对称」。从依靠对折获得的基础对称剪纸特征出发，在近年的创作与研究中，粉丸一直视「对称」为自身研究课题并赋予阶段性的新解。在她看在来，「对称」有着视觉之外的解释，即拥有动词词性的行为或动态关系象征：我们的身体、生活、时间，人与人间的情感关系、付出与收获，都是“对称的”。

When the audience looks at these works, there is no longer only one side of sight. The works and the audience would be strangers to each other. The eyes from a pair of unfamiliar faces produce some kind of symmetrical tension when they look at each other, as well as romantic fluidity.

Symmetry is the suggestive topic of this series. Starting from the basic symmetrical paper-cutting characteristics obtained by folding them in half, in recent years, Fenwan has always regarded "symmetry" as her own research topic and given new concept for stages. In her view, "symmetry" has a non-visual interpretation, that is, a verb symbol of behavior or dynamic relations: our bodies, life, time, emotional relationships between people, and the effort and gain are all "symmetric".

数以千计保有手工着色肌理的色块，共同合作演绎成一张具有情态的画面。与平常的剪纸不同，每组色块并没有被镂空。而是从一张完整的纸上裁切下来，再将纸张上剩余的“图案”舍弃了，留与舍的互换依然构成了剪纸。

Thousands of color blocks with hand-colored textures work together to create a modality. Unlike most paper cutting, each group of color blocks is not hollowed out, but cut out from a complete piece of paper. And then the rest “pattern“of the paper is abandoned. The exchange of the keeping part and the given-up still acts as paper-cutting.

从记录某张真实的面孔或动作开始，肖像经历了分解重组的步骤过程。

粉丸在“临摹”刻画这些清晰的素材时，其实是以主观的冲动进行的，神态细节的分布依据不同人的特征被布置为鲜艳的色块与线条，不再具有精确的还原性。而数字化制图软件却会忠实地呈现艺术家的创作安排，将屏幕的矢量图形落成于纸张的纤维之上。雕刻过后，再由工作室团队对零散的色块进行分类，对照屏幕一一组合拼贴。

From the recording of a real face or action, the portrait goes through a process of decomposition and reorganization.

When Fenwan depicts these clear materials on screen, in fact, she is carrying them out by subjective impulse. The distribution of the faces according to the characteristics of different people consist of bright color blocks and lines, no longer having accurate reductionism. Digital graphics, on the other hand, faithfully represents the artist's arrangement, placing the screen's vector data on the paper's fibers. After carving, the studio team classifies the scattered color blocks and collages them one by one according to the screen draft.

这是一个精确与误差不断交织相伴的过程，作品上的锋利线条仿佛不再能够勾勒原来的面孔，却依然有效地存储了某一时刻的表情神态。

This is a process of accuracy and error. The sharp lines on the work seem no longer able to outline the original face, but still effectively store the emotion of a certain moment.

除特别注明外，网页所有图片均来源于丸工作室。

Unless otherwise noted, all images on this page are from Wonder Studio.