矢量西湖 The West Lake In Vectorial Dynamic
Public installation, 2021
大型公共艺术装置《矢量西湖》正于浙江美术馆2021年3月28日开幕的“平板向度”展览中展出，正巧坐落于西湖旁，展期至5月30日。
创作过程中，粉丸从投稿的百余张合影中勾选出人部分的轮廓图形，也就是西湖湖面被大家暂时遮挡住的部分。再通过数字绘画将相关矢量图形进行处理，利用激光雕刻数控手段在纸张上还原，最终令其成为一个大型的空间装置。
In the process of creation, Fenwan ticked out the outline of the human part from the hundreds of photos submitted, that is, the part of the surface of the West Lake temporarily covered by its owner. Then the relevant vector graphics would be processed by digital painting and also the laser engraving CNC form on the paper to restore, finally making them into a large public installation.
自2020年末，粉丸曾发起“我与⻄湖”合影的持续公众征集。无论是保留至今的历史照片、胶卷相机冲印，还是现代手机留影， 只要能提供定格住人和⻄湖历史瞬间的观众， 都能成为作品《矢量⻄湖》的参与者。
Since the end of 2020, Fenwan has launched a public campaign for photos soliciting of “me and the West Lake". Whether it is historical photos, film camera printing, or mobile phone photo taking, anyone who can provide a snapshot of the historical moments with the West Lake can become a participant in the artwork.
这个由人形轮廓纸张铺满的湖面是从大家的回忆里提取的，是数字化的实体，是矢量的、科技的诗意。
The lake in gallery, covered with paper and human outlines, is drawn from people's memories, as a digital entity, a vectorial and technological poetry.
镜面与镜面。亮银卡纸常在粉丸作品中出现，具有光滑却稍模糊的反射性。它们被作为矢量西湖的表面，与空间中的一面及湖底的金属镜面墙体相互对照，增添对称的纵深感，也通过灯光制造粼粼波光。
Mirror and mirror. Bright silver card paper often appears in Fenwan’s works, with a smooth but slightly fuzzy tactile sensation. They are used as the surface of the vectoring West Lake, contrasting with one side of the space and the mirrored metal wall at the bottom of the lake, adding a sense of symmetry and also creating a shimmering light through the light.
为了主动模仿湖面波纹的动态效果，装置现场使用了多台风扇及风动编程技术，隐藏在平台隔板内。而观众可以在岸边“涉水”休憩，对镜驻足。
In order to imitate the dynamic effect of the ripple on the lake surface, a number of fans and pneumatic programming technology were used on the site of the installation, which were hidden in the platform partition. Audience can rest on the platform, wading in the water, or stay in front of the mirror.
3月28日“平板向度”展览开幕现场，开幕图片由浙江美术馆提供。摄影：凌宗权
Opening ceremony of the exhibition "Pad Dimension: Visual Art From Graph to Virtual". Ceremony photos are provided by Zhejiang Art Museum(Photographer Ling Zongquan).
矢量花絮 Sidelights：
回忆的实体与数字化诗意
整个作品被分为了公众征集、数字绘画制作和最终展出的三个阶段，而它们相互构成整体。从公众回忆伊始，我们收集到许许多多各式的西湖合影，一人或几人，站坐卧躺，每个人挡住湖面的一点，聚起来却拼凑成整片西湖。
The whole work is divided into three stages of public soliciting, digital painting production and final exhibition, and they constitute an entirety. From the beginning of public memories, we have collected many kinds of group photos of the West Lake. One or several people, standing or lying down. Each person covered a bit of the lake, but together they pieced the whole West Lake.
部分西湖合影公众投稿。
Part of the photos submitted by the public.
经由粉丸在平板软件上的创作处理，这些合影中的人形轮廓可转化为被任意缩放的矢量图形文件，利用激光雕刻数控手段转移到纸张之上。
数字绘画与激光雕刻元素的加入，也许使作品本身不再能够被清晰定义为绘画作品或剪纸作品，而是一个具有过程性和当代性的、多方参与的综合空间装置。关于平板创作，粉丸在多年前有过思考:
Created by Fenwan on pad software, the human outlines in the group photos can be transformed into arbitrarily scaled vector graphics files that can be transferred onto paper by laser engraving.
With the addition of digital painting and laser engraving, perhaps the work itself can no longer be clearly defined as a painting or a paper cut work, but as a comprehensive spatial installation with contemporaneity and multi-participation. The artist had thought about pad as an art media many years ago:
当平板输出的无数矢量轮廓到达几公分直径游走的雕刻钻头，回忆的波纹便翻涌到纸张颜料的线条上。
As the innumerable vector contours from pad reach the traveling carving drill which is several centimeters in diameter, the ripples of memory flow onto the lines of the paper paint.
