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

採訪│陳儷云 2018-09-16

 

 

秋風暖陽的午後，伴著火車行過鐵軌的聲音，范思琪盤坐在工作桌前的身影，如進入禪定般沉靜，她筆下反覆旋轉的線條，隨著時間層疊累積，逐漸看見深淺輪廓，透露寧靜沉著的氣氛，曾有收藏家在她的作品中看見生死之際的平靜光影，而好奇詢問思琪是否有過『瀕死經驗』。睽違五年，2018年的夏天范思琪再度成為新竹市鐵道藝術村駐村藝術家。

 

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.

 

走入新環境更深刻理解自我

How I became more aware of the surroundings

 

成為自由創作者的這些年來，范思琪透過旅行不斷歸零更新，全心投入新環境中探索，再回頭看自己的時候，世界也擴大了，原有的執著也獲得紓解。『我一直是很認真的人，循規蹈矩的。』從大學時代談起，在台北藝術大學的五年，將思琪的人生觀重新定義。從小就是乖乖牌，按部就班達到優秀的標準，在北藝這些規則不再必要，實驗，嘗試，尋找才是創作中最重要的事。北藝大是她第一次離家走進的新環境，開啟了她認識自我的旅程，然而到了畢業之際，她仍在迷霧中前行，就在這個時候，她拿到澳洲打工度假簽證，轉入另一個新環境。

 

『踏上澳洲之後，就放開心了！所有的精力都在旅行、到荒野自然中探險，專心在農場工作，遷徙又安頓，直到有一天我真的受不了了，隨手撕了包裝紙盒、拿起原子筆開始塗鴉拼貼，才發現我最喜歡的還是畫畫…』。來到澳洲，離開原本被創作包圍的壓力與瓶頸，徹底變成一個農夫、旅人，專心的生活才發現，創作不是一條被她所選擇的路，而是根深蒂固在她心裡、天生喜歡做的事情。

 

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

作品如同黎明一般地微亮光影，讓思琪想起了她和朋友為了艾爾斯岩石，在沙漠中開了很久的車，

遠處在天將亮時的微光之下，如山一般大的紅石頭漸漸出現在遠方地平線上，逐漸清晰的景象。

 

澳洲, 烏魯魯(Uluru) 的 艾爾斯岩石(Ayers Rock)。

 

 

如獵人般執著地追尋答案

Tracking down answers like a hunter

 

從澳洲回到台灣，回到台北藝術大學研究所的學業，繼續修習版畫。不同於大學的學習，研究所的課程更重視支撐作品的想法表達、創作脈絡及理論架構，讓她重新思考版畫的價值，卻一直找不到確切的解答。2010年，思琪決定出發去尋找答案，當年度拿到教育部獎學金，到捷克「布拉格藝術學院」素描版畫工作室學習一年。在累積二百多年的版畫技術的教室裡，她踏踏實實從基本技術練起，就像剛開始習武的學徒得紮實蹲馬步一樣，每個步驟都反覆練習到純熟，過程中充滿挫折，卻很少印出自己滿意的成果。在日日挫折也日日前進的生活中，思琪依舊積極尋找證明版畫價值的方法。

 

『當年捷克舉辦了一個版畫大展，開幕當天人山人海，我在現場看到了很棒的作品，也見到了許多厲害的創作者。開幕之後又再次前去，超大的展場空空盪盪沒有人來欣賞，只有我一個人，當下真的感到害怕…』捷克版畫大展乏人問津，帶給她不小震撼。那年趁學校休假期間，她走訪歐洲許多美術館，在法國看到一件作品得到啟發。『作品是一塊刻蝕過的金屬版，而且被壓凹成一個弧形，作品概念談到凹版畫源自於金工的延伸，在金屬板上刻蝕摩擦，最後以墨印出呈現的這些過程…』思琪瞬間明白，創作的價值並非呈現的介質，而是敘述的方式，就像版畫並非只有印出來的東西在說話，製版的時候就在說話，創作過程就已經開始表達，因此她企圖找一個全新的語言跟觀賞者溝通。

 

2011年回到台灣準備論文期間，思琪做了『一天一版畫』的創作計畫，每天用同樣一塊板印一張凹版畫，記錄在金屬板上，每天反覆打磨的痕跡。『畢業前，我決定每天印一張，將大學開始到研究所囤積的紙一口氣用完，最後一張完成時就像是為這段求學過程畫下句點，總共是103張。』；接著又挑戰一天之內不間斷印製，反覆的磨板，印板，清板，24小時不眠不休，幾乎每15分鐘印一張。每回印出來的油墨痕跡都不同，記錄著她從精準、逐漸疲乏，到專注力失焦的每個片刻。『在倒數第二個小時，第98張的時候我已經到達體能的極限，於是這個系列就到此打住，要再前進也完全沒有半點力氣…』充滿實驗性的創作方式，讓思琪重獲能量，更玩得興味盎然。

 

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

『如果我像機器般，對同一個版進行重複印製動作，約每15分鐘印一張版畫，並持續24小時，那會顯現什麼？』

 

 

 

從素描開始的奇幻旅程

Fantastic journey from a sketch

 

與充滿實驗性的版畫創作全然不同，現在的單色原子筆創作根源竟是來自一個個的意外驚喜，領著她走向以單純線條創作的路。『以前累的時候，我用素描來消遣，只是沒想到它會變成現在創作的重心。』。從大學畢業的頭兩年，開始拋除目的性的素描創作方式，思琪形容這就像進入一場奇幻旅程。『剛開始面對白紙，我非常害怕』。即興創作就像丟棄指南針在無邊際大海中航行，不知道會遇見什麼，可能航向新大陸，也可能原地打轉，而這段旅程一直是跌跌撞撞，在捷克那年卻經歷了難以言說的奇幻體驗。有一回學校放假，她在校內中庭地板鋪上白紙，從第一張開始畫，即興的用線條填滿，畫面不停湧出，一張畫完不夠，再接續一張…最後完成一件10公尺寬、3.5公尺長的組件作品。『有一瞬間我覺得自己的身體變得很大很大，像是充滿了整個空間，那時後所有感官都打開了，有人經過了四周走廊時，我敏感地覺得他們離我好近好近，就在腳邊、手邊…』思琪專心地與線條共舞，從第一張持續不斷畫到最後一張，她精疲力竭，回到宿舍倒頭昏睡，卻獲得全然的滿足與喜悅。其實畫面中的圖像並非無中生有，思琪認為圖像養分是來自學校旁的大公園，每天環繞著她的植物悄悄在畫面中發芽。

 

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. 

 

2011年捷克交換生時期，思琪的評鑑作品包含了按部就班從細節磨練起的版畫作品，

以及兩件篇幅原子筆仙人掌局部素描。

 

Cactus IV，70 x100公分, 原子筆 紙, 2010

 

 

鋪滿畫紙的中庭，思琪一氣呵成的將作品填上線條直到達體力極限為止。

 

 

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

 

專心創作時，隨著畫面從筆下流洩，也帶出許多過去未意識到的情緒，『專心畫著線條的同時，壓抑在心底的情緒、生活中的困惑與猶豫，開始大聲吵鬧了起來。』，當自己像是潛入海底一般地遠離塵囂、進入創作時，赤裸的自我也被釋放出來，必須與真實的情緒面對面。『有一天我聽見線條在對我說話！』『把自己放軟一些。』那是創作時真實出現在耳朵裡的聲音，從筆下流洩出的墨水在對思琪說：變得更柔軟吧！她開始在線條中找到韻律，覺得自己跟著手指律動著，一起呼吸，跟隨直覺畫下去，最後進入某個身體與線條合一的狀態，共同律動著。擁有固執和堅毅本質的思琪，不管當下有哪些情緒襲來，是好是壞，始終沒讓自己的筆停下來，更在創作的過程中正面擁抱、消化那些負面的自我。

 

在現在的創作中，思琪就像個探險家，以率性與好奇心追尋沒有輪廓的答案，擁抱無法預測的未知，與恐懼泰然相處。從害怕未知，到擁抱未知，至今挑戰未知。『畫線條像是鍊金術，持續畫下去，會在某個臨界點產生化學變化，轟的一下誕生全新的局面。偶爾我還是會害怕未知，但更享受這些未知帶來的驚喜，有時也會刻意挑戰它，想試試看全是直線可以走到什麼程度？圈圈線一路到底，會出現什麼？』她形容在創作中很多時候，畫面處在渾沌不明之中，然後在某個飽和的瞬間豁然開朗，撥開迷霧看見紙上的景象。相較於過去下筆時不知道會走到哪裡？走多久？畫出什麼樣的畫面？思琪在今年的創作計畫中，做了新的嘗試，開始設定完成時的畫面，接著放鬆讓線條在畫面中伸展，她嘗試著影響未知的結果，但又享受充滿不確定感的創作過程。

 

"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

 

 

光合作用般地從環境中獲取能量

Energy from the surroundings

 

2012年從研究所畢業之後，思琪曾短暫做了半年藝術行政工作，渴望持續創作的她順利在當年入選為新竹市鐵道藝術村的駐村藝術家，當時三位創作者共用一間工作室，和過去她習慣在安靜的獨立空間創作有很大的不同。本來悠閒度日的思琪，受到同處一室的日日勤奮工作的雕刻家刺激，讓她也開始了規律的創作生活。『坐在隔壁的雕刻家，敲在木頭上的每一聲，都提醒我得找到自己的節奏。』在2013年底駐村結束後，在家中創作更是創作量暴發，也陸續獲得國際獎項肯定。一直和家人住在一起的思琪，隨著姐姐們結婚生子，家庭成員不斷增加，也開始分攤家務責任，得負責照顧姐姐的小孩、家中長輩，輪流煮飯。『開始意識到我的時間不是我的，所以更珍惜時間。』2018年回到新竹鐵道藝術村，擁有一個獨立的工作室，聽得見隔壁金工創作者打磨的聲音，參觀者在走廊上來來往往說話的聲音，窗外火車壓過鐵軌的聲音，這些或近或遠的聲響成為思琪創作時的安全感來源，感覺到陪伴，卻又不太靠近，有點距離，是最安心的創作環境。駐村期間思琪正全力衝刺的完成新作，為接下來的展出計畫準備，期望將自己在線條中感受到的幸福感、溫暖的正面能量與人們分享，在駐村期間也將透過工作坊，讓人們體會到繪畫時的身體律動，打破原有的印象，更自在的在創作中探索。

 

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.

 

 

 

工作室牆上貼了家人來訪時的畫作，與家人的相處互動是思琪生活中重要的部分。

 

 

 

范思琪簡歷

www.sihcifan.com

 

經歷

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

          「高雄獎2014」首獎，台灣

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

 

 

展覽

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

          「心境即景」，102當代藝術空間，台南，台灣

2015  「高雄藝術博覽會」，高雄城市商旅，高雄，台灣

          「靜心，再出發」范思琪＆楊景堯聯展，分享藝術空間，高雄，台灣

          「台北藝術博覽會_MIT新人推薦特區」，台北世貿中心一館，台北，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

  「壹零貳複轉II_台灣版畫展」，102當代藝術空間，台南，台灣

  「青春嶺2015」，科元藝術中心，台中，台灣

  「藝文青軌_駐村成果展」，新北市國際藝術村，新北市，台灣

  「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

          「第十一屆駐村藝術家聯展」，新竹市鐵道藝術村，新竹，台灣

  「皮爾森第九屆國際素描雙年展」，皮爾森畫廊&傑利唐卡畫廊，皮爾森，捷克

  「高雄獎2014」，高雄市立美術館，高雄，台灣

  「版畫藝術博覽會」，馬賽雷版畫中心，卡斯特雷，比利時

2013  「藝集－十年有成展」，新竹市鐵道藝術村，新竹，台灣

  「軌跡魅影－鐵道藝術六站聯展」，台中文創園區，台中，台灣

  「複合體」八人聯展，富錦藝術空間，台北，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