10倍的快乐 Tenfold Happiness
Installation, 2022
在岭南天地10周年的契机下，艺术家陈粉丸用剪纸最简单的对折手段，剪出120个快乐人仔形象，象征过去历久弥新的120个月。这些剪纸的形象之间正快乐相牵、并围成10个大圈，流连于岭南天地各处。
On the occasion of the 10th anniversary of Lingnan Tiandi in Foshan, artist Chen Fenwan used the simplest form of paper-cutting to create 120 happy figurines, symbolizing the lasting 120 months in the past. These paper-cut figures are happily holding hands to each other and forming 10 large circles, lingering around this semi-opened area.
从在纸张上裁剪出边缘，到最终作品呈现，其中经历繁复的创作推演和工艺过程。观众眼前的快乐人仔们仍以镂空和对称的名义，成为着「剪纸」。除却人物身体的对称，它们相互手牵手的动作，不乏为一种更宽松和浪漫的对称。
From cutting the edges on the paper to the presentation of the final work, there are complicated processes of creative deduction and manual production. The happy figurines in front of the audience can still be regarded as "paper-cuts" in the name of hollowness and symmetry. In addition to the body symmetry of the characters, the movement of them holding hands with each other is not lack of a more relaxed and romantic symmetry.
「相牵」是这些快乐人仔们的关键词。10是5+5，我们的一只手是5，手牵手就是10，快乐会因心意相连而加倍。
Hands holding is the key concept for these happy figurines. 10 is 5+5, one of our hands is 5, hand in hand makes it to 10, happiness will be linked by the hearts and doubled.
“这是一道简单的数学题，套用在人与人的情感中，便有了艺术的浪漫。我们渴望对称的情感，我们牵手、我们拥抱，都是对称的行为。除了视觉，对称还在我们的观念里，在我们的意识里，只是现在暂时寄存在这些对称的快乐人仔上。” 对于人与人间亲密有间的动态关系，粉丸这样阐述。
"This is a simple math problem, but there is romance of art when applied to relationships between people. We long for symmetrical emotions. Holding hands and hugging are both symmetrical behaviors. Besides vision, symmetry still exists in our ideas, but for the time being housed in these symmetrical happy figurines." As for the ever changing relationships between people, Fenwan said so.
《10倍的快乐》系列作品的首次呈现位于岭南天地的公共开放场域，观众的流动性和户外因素对纸作品的挑战，是粉丸着重考虑的。这些看似限制的因素，也促成了新作品结合新材料和新结构的尝试。
The first presentation of the series of Tenfold Happiness is located in the public area of Lingnan Tiandi. The challenge of the mobility of the audience and outdoor factors to the paper works is taken into consideration by the artist. These seemingly limiting factors have also led to attempts to combine new materials and structures.
图片由岭南天地提供。
Photo courtesy of Lingnan Tiandi.
纸张、金属、气模、塑料，不同材质因数码文件处理与手工、科技的加入，变得可供量产化，促成协和而呼应的结构关系。它们都起始于「剪纸」，那些数量繁多的、由粉丸通过最简单的对折手段裁剪出的120个人仔原稿。
Paper, metal, air mold, plastic, different materials due to digital document processing, manual labor and technology, become available for mass production, resulting in a harmonious and corresponding structural relationship. They all start with "paper cuttings," the numerous original pieces of 120 figurines were cut out by the artist.
作品创作初期，粉丸开启了一小段漫长的连续剪纸历程，其中某一天甚至连续剪下了60个快乐人仔，尝试了各种对折的方式。
当被问及过程中的感受，她谈道：“当对折的次数越多，一次剪裁获得的重复图形就越多，可是因为纸张的叠加会令剪刀的灵活度减低，所以当对折次数越多能塑造的细节也相应越少。这似乎是一种必然的“稀释”，一种不得不承认的规律，也是手工劳动才能带给人的思考。”
In the early stage of creation, Fenwan began a long process of continuous paper cutting. One day, she even cut out 60 happy figurines and tried various ways of folding a sheet of paper in half.
When asked how she felt during this process, she said: "the more times you fold a paper in half, the more repeated shapes you would get in one cut. However, because the superposition of paper will reduce the flexibility of scissors, the more times you fold it in half, the less details you can create. This seems to be an inevitable "dilution", a law that has to be acknowledged, and also a reflection that manual labor can bring to people."
在研究剪纸的过程中，粉丸曾发觉各种祈福娃娃是一大类别。自从遇见被称作「贵人」的一串剪纸，便触发她开启了日常剪人仔的劳动。
In the process of studying paper cutting, Fenwan has found that all kinds of praying dolls are a big category of this kind of art. After meeting a string of paper cuttings called "nobleman" by the Southern people of China, she started her daily work of cutting figurines.
它们除了装饰性还有功能性，大家相信剪纸有祈福招财的作用。作为当代的艺术家，民间艺术的当代转译是粉丸历来创作中重要的成分。“我希望利用传统艺术携带着的魅力，把剪纸重新演绎再跳脱出传统。「快乐人仔」就是基于这样的逻辑诞生。“
剪纸常常用以祈福招财求子，而这次在粉丸手中诞生的传统娃娃的形象，每一个脸上都带着笑脸，手牵着手，不祈求别的，只求「快乐」。
The Chinese traditional paper-cutting dolls are not only decorative but also functional. It is believed that they have the function of praying for good fortune. As a contemporary artist, the new translation of folk art is an important component in the creation of her. "I hope to make use of the charm of traditional art to re-interpret and re-jump from the tradition of paper cutting. The happy figurines are based on this logic. "
Paper cuttings are often used to pray for good fortune and children, but this time the dolls born in the hands of the artist, each with a smiling face, holding hands and praying for nothing but "happiness".
创作在无数次推演
和转换中成长和落地
——《10倍的快乐》作品创作历程的还原
Stories behind Tenfold Happiness
粉丸常常提及，有一定体量的艺术项目都一定是团队合作与集体劳动的成果。就在天地广场中最大的一处装置旁，丸工作室团队以还原作品工作场景的策展思路，对整个创作过程作出详尽呈现。
正如镂空剪纸的「留下」与「舍去」，当有了剪纸的经验后，便能透过已成型的图案，想象纸张最初始的样子，也“看见”那些被舍弃掉的图形，这通常是观众不太会有的观看习惯。而创作过程中使用过的各种材料和工具也是如此，作为作品的隐形组成部分，如同一只无形的“手”。
Fenwan often mentions that any art project with a certain volume must be the result of teamwork and collective labor. Right next to the largest installation of them in the central Tiandi Square, the Wonder Studio team presented the whole creation process in detail with the curating idea of restoring their work scene.
Just like the "gain" and "give up" of hollow paper-cutting, when people have the experience of paper-cutting, they can finally imagine the original appearance of the paper through the formed patterns, and also "see" those discarded figures, which is usually a rare viewing habit of the audience. The same is true of the various materials and tools used in the creation process.
从艺术家的剪纸原稿，到数码转化、形成矢量文件，到落成于上述多种工艺，历经繁复次序。快乐人仔被团队从有限的手作劳动中，解放可量产化的材料。
“屏幕和算法制造的对称是即时生成的，理性高效、复杂精良。屏幕和矢量可以对一个图形无限放大，就意味着如果采取这个手段难免会进入对于局部细节的描绘中。但是，正如作品题目《10倍的快乐》，快乐应该是简单的，应该是直接的，所以创作手段上就去除制造复杂的因素，让图像生产回归到更原初的剪裁中。剪刀不能与机器竞争细节，可是如果是竞争快乐，它不会输。对折一张纸，用剪刀在其中取舍，对称的法则会引领你，当你重新展开这张纸，你就获得了快乐——属于创作者的快乐。”
From the artist's paper-cut manuscript, to digital transformation and to the completion of exhibition, it has experienced a complex sequence.
"The symmetry created by the screen and the algorithm is instantaneous, rationally efficient and sophisticated. Screens and vectors can magnify an image infinitely, which means that if you do this, you will inevitably get into the description of local details. However, just as the title of the work "tenfold happiness", happiness should be simple and direct, so the creation means to remove the manufacturing complex factors, letting the image production return to the original cutting. Scissors can't compete with a machine for details, but if it's a competition just for happiness, it couldn't lose. Fold a sheet of paper in half, choose between them with scissors, and the law of symmetry will guide you. When you unfold the paper again, you gain joy -- the joy of becoming a creator."
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.