“我妈妈在我小时候决定带我去学画画，「竹」是我第一次拿起毛笔时学习的对象。20年后，我妈妈退休，她决定去学画画，「竹」也是她第一次拿起毛笔时学习的对象。在这样一个巧合的闭环里，我已经长大，妈妈已经变老，这一串不存在的却连起来的竹子里储存了我们的记忆，也连结了我们并不善于表达的感情。

「竹」在这里是一个纽带，情感纽带。从笔直的姿态被我们揉成了温婉的曲线。情感总和时间绑定，两个看不见的概念，在视觉艺术家手里应该被显像出来。“

"My mother decided to take me to learn to draw when I was young, and the bamboo was the object I learned when I first picked up a brush. Twenty years later, when my mother retired, she decided to learn to draw, and "bamboo" was also what she learned first. In such a coincidental loop, I have grown up, my mother has grown old, these non-existent but conjunctive bamboos store our memories, but also linked our feelings that we aren’t good at expressing.

"Bamboo" here is a link, an emotional link. From a straight posture we knead into a gentle curve. Emotions are always bound to time, two invisible concepts are visualized in the hands of the artist.

“对于一些情感的回顾，我总是带有一丝丝类似‘伤感’的研究。成年离家，我似乎脱离了那个儿时乱糟糟的房间很久了，但我始终想要保留住与它、乃至与我父母曾经在这个空间里的关联。”

于是，粉丸的创作常常以与家人合作的方式呈现。这一次以“竹”为媒进行发想，粉丸再次想到了母亲，决心要用合作的方式捕捉住这份记忆。其呈现结果是：母亲芳姐以其擅长的水墨画描绘竹林，而自己则用纸张和标记性的无限“纽带结构”去诠释竹节意象。母女二人错开日常，难得用创作对话。

"I always look back on emotions with a little bit of 'sentimental' research. When I left home as an adult, it seemed like a long time ago that I had left the cluttered room of my childhood, but I always wanted to retain a connection to it and to the space that my parents had been in."

As a result, Fenwan's creations are often presented in collaboration with his family. This time to "bamboo" as the medium for thinking, she again thought of her mother, determined to capture the memory through art. The result is her mother, Mrs Fang, painted the bamboo with Chinese ink style, while she uses paper and her symbolic infinite "bond structure" to interpret the imagery. Mother and daughter stagger their daily routine and rarely talks in art.

借由邀请父母加入到自己的创作过程，那些逝去的时光又以新的方式重新进入到她的生活，即便身体远行，旧时的联结也未曾断开。

By inviting her parents into her creation, those lost times reenter her life in a new way, keeping the old connection alive even as she travels far.

粉丸一直希望在作品中，将个人情感总结、转化为一种浪漫的集体共鸣。如同《空竹存忆》，以最私人的记忆为节点，存入纸做的竹子之中，也与GUCCI手袋对竹节的使用观念不谋而合。

Fenwan has always hoped to sum up her personal feelings and transform them into a romantic collective resonance in her works. As Bamboo As A Bond, her most private memories are stored as nodes in bamboo made of paper, which also coincides with the concept of bamboo using by GUCCI.

“我现在正在做的事情，其实也是在传承剪纸的视觉形式。镂空是一个对纸进行加工很重要的手段，因为它能够展现纸的优势。我依然用‘镂空’进行创作，但我试图把纸艺带有祈福好运的功能找回来。希望用自己的语言去塑造剪纸、窗花的现代性。”

"What I'm doing now is actually inheriting the visual form of paper-cutting. Hollowing out is a very important means of paper processing, because it can show the advantages of paper. I still work with it, but I'm trying to get back the good luck function of the paper artwork. I hope to use my own language to shape the modernity of paper-cutting."

回归到创作，纸张一直被粉丸视为「合作伙伴」，而不仅是手艺或媒介。 

一张张纸经过刷色、喷漆、雕刻、组装，承载着情绪，转换成储存记忆的容器。情感与时间强强绑定，二者虽无形无影，却借着迷离的色彩、细细镌刻的镂空，通过立体的拼接行为显现出来。

Returning to creation, paper has always been seen by Fenwan as a "partner", not just a craft or medium.

The sheets of paper are painted, carved and assembled, carrying emotions and transformed into containers for memories. Emotion and time are strongly bound, although the two are invisible without shadow, but live through the blurred color, carefully engraved hollow out, and the three-dimensional splicing behavior.