第五集：付小桐 “Art Walk: Behind the Scenes”丨Episode 5 : Fu Xiaotong
“Art Walk: Behind the Scenes”
Episode 5 : Fu Xiaotong
艺术家生态图录 第五集：
付小桐 —— 宣纸上的孔洞，
是生命的呼吸？
（Time/时长：03' 22''）
Albert Camus once said that, no artist could live without reality. Art can question reality, but art cannot escape from reality. Compared with most mature artworks, the living
conditions and life stories behind the art production seem to be more intriguing. Taking from the first-person perspective, CAFA ART INFO is now presenting you with our latest micro video program, “Art Walk: Behind the Scenes”. With a focus on individual artists’ life stories, we will take you on a tour to explore how an artist actually works and lives in real-life situations. This series will be filmed at a part of the artists’ studios in some art districts at Beijing. Each artist’s unique character will be revealed to our audience in a more realistic and tangible way.
阿尔贝·加缪曾说，没有一个艺术家离得开真实。艺术可以怀疑真实，却不能逃避真实。相对于成熟的作品来说，隐匿在艺术家背后的现实境遇与生活方式或许更为神秘引人。中央美术学院艺讯网英文版微视频栏目《艺术家生态图录》以记者第一视角切入，从艺术家个人的生活微话题出发，在趋近平视的视角中窥探其工作环境与生活状态。首先基于中国北京部分集中艺术区的艺术家工作室进行走访，每位艺术家的独特个性在镜头之外徐徐显现。
Fu Xiaotong—The Holes on Rice Paper, Aren’t They a Breath of Life?
付小桐 ：宣纸上的孔洞，
是生命的呼吸？
735,000 Holes, handmade paper, 116x85cm, 2015
《735,000孔》，手工宣纸
599,600 Holes, handmade paper, 240x116cm, 2017
《599,600孔》，手工宣纸
Born in Shanxi, China in 1976, Fu Xiaotong graduated from Oil Painting Department of Tianjin Academy of Fine Arts, China in 2000, and graduated from the Department of Experimental Art, China Central Academy of Fine Arts, China in 2013. Since 2001, Fu has been a lecturer at the Institute of the arts, North China University of Science and Technology, Tangshan, China. Currently she lives and works in Beijing, China.
The repeated action of making numerous holes on the paper gives my artwork an enduring quality. These intricate holes form the images of Shan Shui; the needle tip penetrates both sides of the paper over and over, as if casting a spell, indicating the nothingness of images. I use the number of needle-holes in each piece to name each work. In doing so, I hope to dissolve my individuality. Perhaps, this is the best way for me to protest against despair and solitude, hiding behind an extreme approach and artistic vocabulary.
—An Excerpt from "Artist Statement"
by Fu Xiaotong
付小桐，1976年生于山西，2000年天津美术学院油画系本科毕业，2013 年中央美术学院实验艺术系硕士毕业。2000年至今任职于华北理工大学艺术学院，现生活于北京。
用针在纸上扎孔，使作品具有了神经质般重复劳作的坚毅性。密集的针孔堆积出山水图像，针尖无数次地上下穿梭于物质的两面，如同绵绵不绝的咒语，诉说着图像背后的虚空。我用针孔的数量来命名每件作品，它终结了我的个人意识。或许，一种极端的语言形式背后，是我用来对抗绝望和孤独的极好方式。
——摘录自付小桐《作品自述》
Whorl, handmade paper, 116x90cm, 2015
《漩》, 手工宣纸
The Beginning of Chaos, handmade paper,
400x41cm, 2015
《寂净之地》, 手工宣纸
Fu was punching holes with needles in rice paper
付小桐在宣纸上用针扎孔
In simple terms, Fu’s artistic language was achieved by “punching holes with needles in rice paper”. “A needle”, as a traditional tool, naturally carries various cultural implications. Fu Xiaotong was born in Shanxi. When she was little, her mom used to make embroidery works in the dim light, which left Fu with a lasting impression. Gradually, Fu became fascinated with holes made by needles. She said that, “holes represent a condition between semi-transparency and 100% transparency, a sense of fragility. From time to time, we might need to release some of our daily life stress through these “holes”. The light that shines through the holes is probably like a bright lamp in the darkness, raising hope in misery.
简单来说，“在宣纸上用针扎孔”的方式是她一贯的艺术语言。“针”作为一种传统工具，本身承载着各种文化内涵。付小桐出生于山西，小时候母亲在昏暗灯光下做刺绣扎针的场景令她印象深刻，慢慢地，记忆在时间中发酵，付小桐坦言对于孔洞的着迷，她说，“孔洞象征了一种通透的或透明的状态，一种脆弱的感受。”现实的压力也需要透过这些“洞”来释解，洞里透出的光或许就像黑夜中的明灯，给人以希望。
Limitless, 32 pieces, mixed media, variate, 2017
《永无止境》, 32件组合, 综合材料, 尺寸可变
Moon Rabbit, mixed media,
22x45x172cm, 2017, details
《月兔》，综合材料，局部
Swing Clock, mixed media, details
《摇摆的钟》, 综合材料，局部
Fu Xiaotong explored many artistic methods to make “holes” during her studies in the Department of Experimental Art, such as cutting out, multiplying and overlaying. Currently, Fu is also trying to make some 3D holes out of 2D holes on rice paper. No matter what media Fu is experimenting with, Fu’s pursuit for holes is indeed a pursuit for transparency.
她在实验艺术系学习的时候探索了各种制作“孔洞”的艺术方法，例如剪裁、叠加、重影等等。目前，她也在尝试将二维宣纸的孔洞拓展成三维。可以说，无论使用任何材质，付小桐对“洞”的追求实则是对“通透”的追求。
Luohe Diagram, 31 pieces, variate, copper wire, 2017
《洛河图解》, 31件组合, 尺寸可变, 铜丝编制
Luohe Diagram, copper wire, details
《洛河图解》, 铜丝编制，局部
Long-tailed Wolf, iron wire, 206x76x25cm, 2017
《长尾狼》，铁丝编制
Father, iron, wood, hemp rope, newspaper, clay, 33x30x190cm, 2017
《父亲》，铁、木、麻绳、报纸、泥土
The Rebirth of Hydra, mixed media,
600x400cm, 9 pieces, variate, 2017
《重生的海德拉》, 九件组合, 综合材料, 尺寸可变
《重生的海德拉》，局部
In recent years, Fu Xiaotong has been gradually developing her mode of creation. Since her artworks make promising sales, Fu was able to create freely, without any financial burden. However, her studio moved frequently due to the on-going construction and demolition in Beijing. Fu Xiaotong feels exhausted with this, and the way she punches holes in her works could be seen as a way to release herself and battle against despair and loneliness.
最近几年，付小桐逐渐找到自己的创作模式，作品的销售状况良好，因此能够较自由地创作，不会受经济压力的困扰。但是面临着北京城市拆迁和建设，工作室一再搬迁，她也倍感疲惫。而艺术创作中“扎孔”方式，或许正是她找寻自我释放、对抗绝望和孤独的一种方式。
Fu and her studio in the Huantie Art District, Beijing
付小桐在北京环铁艺术区的工作室
The making of Fu Xiaotong’s works
付小桐作品制作现场
下期预告
In the next instalment, we will take you to the artist Mo Bao’s studio. Please stay tuned.
下一期我们将带观众走进艺术家莫宝的工作室，敬请关注。
Artist Mo Bao
艺术家莫宝
Art Walk: Behind the Scenes
《艺术家生态图录》往期回顾
“Art Walk: Behind the Scenes” Episode 1 : Wang Qingsong丨第一集：王庆松
第二集：黄文亚 “Art Walk: Behind the Scenes”丨Episode 2 : Huang Wenya
第三集：卜云军 “Art Walk: Behind the Scenes”丨Episode 3 : Bu Yunjun
Special thanks to the artist Fu Xiaotong
鸣谢 艺术家付小桐
Strategy Planning Director: Zhang Yanzi
总策划：章燕紫
Producer: Zhu Li
监制：朱莉
English Producer: Sue Wang
英文监制：王姝
Copy Writer: Zhang Yizhi
文案策划：张译之
Director / Videographer: Chen Peihua
导演/拍摄：陈佩华
Translator / Dubbing Specialist: Miao Yinan
翻译/配音：缪亦楠
Post Production: Hu Sichen
后期制作：胡思辰
Technical Adviser: Yang Yanyuan
技术指导：杨延远