從容的冒險 ─ 范思琪 專訪 ● 你好藝術 Fan Siqi Interview

  • fb  
  • 採訪│陳儷云 2018-09-16





    It is sunny yet windy autumn noon. Sounds of a moving train fill the air as Fan Siqi sits in front of her desk in a zen-like state of quietness, her pen whirling lines which accumulate over time, gradually forming deep silhouettes that reveal a calm and peaceful ambiance bordering between what is life and death, leading the collectors frequently asking whether she has gone through a near-death experience. 


    Fast-forward five years to a summer´s day in 2018 when Fan Siqi is again to become a residing artist in Hsinchu city´s Railroad Art Village.



    How I became more aware of the surroundings






    After she became an independent artist, Fan Siqi zeroed in on traveling and throwing herself amidst new surroundings so that she can better observe herself and also widen her world.

    "I was a very serious person who always followed the rules".


    The five years in Taipei National University of the Arts redefined Fan´s life: she had always been a good kid who pursued excellent grades, but in the arts university that was no longer a thing. For creative people, experimenting, trying new things and discovering were.


    Fan´s journey into knowing herself began from leaving her home for the first time for a new surrounding, the university, and continued after her graduation by acquiring a working holiday visa to Australia – again, a new change in her surrounding.


    "I was happy having arrived to Australia. I used all my energy in traveling, exploring the wild and doing farm-work until the day became when I had enough, and I ripped open a pack of paper, grabbed a ball-point pen and started doing what I then re-discovered I still like to do, drawing." 


    Australia had made her left behind her worries and pressures of being an artist, and had transformed her into a farmer and a traveler. But creativity was not a road she had chosen to begin with; it was a matter of something given, something ingrained in her heart.



    旋 08,40 x 39.5 公分, 原子筆 紙, 2015





    澳洲, 烏魯魯(Uluru) 的 艾爾斯岩石(Ayers Rock)。




    Tracking down answers like a hunter








    When Fan returned from Australia to Taipei National University of the Arts´ graduate school she continued to draw. Graduate school classes differed from the normal ones in the way which they put more emphasis on expressing ideas by utilizing the creative processes and theoretical frameworks. It made Fan rethink the values in drawing, yet having her not discovered exact answers. 


    In 2010 she decided to set out to find answers in the Academy of Performing Arts in Prague where she enrolled in a sketch drawing workshop for one year. In a classroom of two hundred years worth of printing tradition she trained in the basic techniques, becoming better by each tedious and repetitive step, though still coming up with works which were not of satisfactory level. 


    Day in and day out, Fan Siqi was still looking for the proof of value in print drawing.


    "There was a printmaking exhibition in Czech Republic that year, which drew in crowds and showed great works and many superb artists in its opening day, but when I went there on another day the big hall was empty and there was nobody else but me, which was scary". 


    The lack of interest in printmaking exhibition was a shock to Fan.


    Taking advantage of the holiday from studies she visited many art galleries in Europe and found an inspirational piece of work in France. "It was a carved piece of metal which was pressed into a curved shape and then etched, with finally having a print on its surface". Fan understood that the value in creativity is not just about the visible medium, but it is also about the narrative. It is not just about the finishing print, as the whole process has already begun earlier from the making of the plate.


    She now had to come up with a new language to speak to the viewers.


    After returning to Taiwan for her thesis, Fan began her "plate a day" plan for which she used the same plate each to day to draw onto. "I decided to print something every day, and because of that I consumed more paper than during the whole time at university, just to learn the process of drawing dots, 103 of them in total". 


    That was followed by a challenge to print non-stop for 24 hours without a rest, resulting in a print in every 15 minutes. Each work was different from the previous, documenting every moment from the precision in the beginning to the following tiredness and eventually to a point of complete lack in energy. "Having done 98 prints and with still two hours to go I had already reached the limit of my physical strength, and the series was to come to its halt". However, the thoroughly experimental nature of the creation had Fan gaining back her energy, making her enjoy it to the end.






    連續印版24小時Print 24 hours, 簽到表1張, 21×29.7公分x 98 張, 凹版畫、紙, 2011






    Fantastic journey from a sketch




    For an experimental metal plate artist to take the road of drawing simple lines with a ball-point pen is surprising. "I used to do sketching when I felt tired, never thinking it could turn out to have that kind of gravity". 


    The following two years from graduation made her begin to abandon the goal-oriented style of sketching – a turn of events she describes as a journey into fantasy. 


    "I was very scared when facing a blank paper". 


    Improvised art is like navigating the seas without a compass, not knowing where it will lead you, and ever since the time in Czech republic Fan´s journey had actually been on all along.


    Once, during a holiday she spread empty papers on the floor of her school hall and started to fill them with her impromptu drawings one after another, eventually having a work measuring in 10 meters tall and 3.5 wide. "At that moment I felt as if my bodily experience had turned into something really big and had filled all that space, making all my senses open and making me feel the proximity of the people passing by". It was an exhausting dance of the drawn lines, from the first sheet of paper to the last. And the topic was not pulled out of thin air either, for there are plants from the nearby park visible in the picture, she believes. 







    Cactus IV,70 x100公分, 原子筆 紙, 2010








    屬於那些遺落的時光,1張70×77公分,共75張,全長約為3.5×10.55 公尺, 原子筆紙, 2010



    Be soft 紙上線條說的話

    "Be soft" - the language of lines






    "When absorbed in drawing lines and oppressing the mood one feels, the confusion and hesitation of life start to shout out loud". The true personality comes out, and one has to face the genuine emotions face-to-face. "There was a day when I heard the lines speaking to me". Amidst her creative fervor Fan Siqi could hear in her ears the lines saying: become softer! 


    She thus began to find the common rhythm between herself and the intuitive style of drawing, never letting her pen stop regardless of the emotional impulses, whether positive or negative, embracing all that was good in the process and absorbing all that was not.


    Fan Siqi is nowadays more like an adventurer who embraces the uncertain future and who is in pursuit of answers without fixed figures. She has surpassed the fear of uncertainty and turned it into a challenge she now embraces.


    "Drawing continuous lines is like alchemy in the way it can produce chemical-like reactions in the paramount sections of the work, making it possible to boom into existence completely new sets of circumstances. "

    "I still occasionally fear the uncertainty, even though I do enjoy the challenging surprise it can deliver; what will emerge in the end of a circular line?" She describes how there are times when the apparent, misty chaos of a drawing suddenly becomes lit and a scene appears on paper. 


    After the pen is destined to move, is it possible to know where the continuous line can lead to? How long should it take? What kind of a drawing should it be? 


    Lately she has attempted to influence the uncertainty while still feeling at ease with the creative process of the unexpected results.



    旋 06, 27 x 28 公分, 原子筆 紙,, 2015



    安靜地流動著,80x80公分, 原子筆紙, 2013




    Energy from the surroundings




    In 2012 Fan Siqi attended the Hsinchu Railway Art Village as an art resident. There she had to share a studio with three people, which was something new for her as she was used to working independently in solitude. On her day off she found a diligent sculptor working in the studio, a sight that provoked her to have some discipline in her own creative ways once again. "The sound of each chop on the wood reminded me of the rhythm I was yet to find". 


    In 2013, after the residency, her creativity broke free and she was acknowledged also internationally. 


    But after having moved back together with her family, and with sisters who now had children, also Fan had to do her part of the family chores. "I began to feel that my time is not really mine".


    In 2018 Fan returned to Hsinchu Railway Art Village where she was given her own studio, where she could again hear the continuous sounds of metal working, chatting and trains outside – the familiar sounds that indicated a peaceful environment to her. 


    As for the residency, Fan Siqi is to put her energy into a new work, plan for an exhibition, hope to find happiness in drawing her lines, share positive feelings with people and have the people experience works of art which stem from the rhythm of the body and the exploration of the uncertain impressions of the mind.














    2018    駐村新竹市鐵道藝術村 / 法國DrawInternational

    2017  「第四屆鴻梅新人獎」新人獎,台灣

    2015  「台北國際藝術博覽會」MIT新人獎,台灣

    2015    駐村新北市國際藝術村

    2014    駐村新竹市鐵道藝術村 / 比利時Frans Masereel centrum

    2014    客家委員會「103年築夢計畫」得主

    2014  「皮爾森第九屆國際素描雙年展」皮爾森市長獎,捷克


    2013    駐村新竹市鐵道藝術村

    2012  「第3屆曼谷國際版畫和素描三年展-素描類」贊助者獎,泰國

    2012    畢業於國立台北藝術大學美術創作研究所碩士班

    2010    獲教育部「學海飛颺」獎學金至捷克「布拉格藝術學院」素描版畫工作室一年

    2006  「中華民國第十二屆素描及版畫雙年展」入選,台灣

    2006    畢業於國立台北藝術大學美術系

    2004    廖修平版畫獎學金




    2018  「岱員.福爾摩沙」藝術文化交流展,Galería Weber-Lutgen,塞維亞,西班牙

    2016  「時代的位移」高雄獎20年,高雄市立美術館,高雄,台灣


    2015  「高雄藝術博覽會」,高雄城市商旅,高雄,台灣



      「A Different Perspective : 皮爾森國際素描雙年展1996-2014」,

        West Bohemia Museum in Pilsen,皮爾森,捷克




      「The best works of the Biennial of Drawing Pilsen 2014」,

        Center Bavaria Bohemia  (CeBB),Schönsee,德國

    2014  「2014高雄藝術博覽會-高雄新銳特展區」,駁二藝術特區,高雄,台灣





    2013  「藝集-十年有成展」,新竹市鐵道藝術村,新竹,台灣



    2012  「第三屆曼谷國際版畫和素描三年展」,曼谷藝術與文化中心,曼谷,泰國