孙文佳
当代艺术家孙文佳长期致力于漆艺的多元化形态研究，以“玩趣”的形式不断拓展漆艺的探索边界，他形容这个过程为“一种实验”，似乎在找寻着自己的某种身份。
Contemporary lacquer installation artist Sun Wenjia has long been devoted to the study of the diversified forms of lacquer, constantly expanding the boundaries of lacquer art. He has spontaneously come into contact with lacquer in the form of "playfulness", a process he describes as "a kind of experiment", as if searching for some kind of local identity for himself.
对孙文佳来说，从油画转到漆艺创作，本身就有着巨大的挑战。他时常在绘画过程不得不诚实地面对当下的感受，然而投身于漆艺时则获得了一种延迟的满足。从生活到艺术的进阶，作品里始终勾勒了时间的形状。
For Sun Wenjia, the transition from oil painting to lacquer creation was itself a huge challenge. He often had to be honest about his feelings in the moment while painting, but he found a delayed satisfaction in painting. From life to art, the work has always outlined the shape of time.
什么样的机缘巧合，让您从油画转到漆艺？
What serendipitous events led you from oil painting to lacquer art?
本科毕业后做了几年的综合材料实践，如壁画，坦培拉，雕塑，空间装置等，这期间对材料性质的认识和运用有了较大的提升。2016年偶然看到一个杭州萧山跨湖桥遗址影像，被其中的一把漆弓深深地震撼到了，8000年前的弓居然能保存至今，没有被腐蚀、碳化分解。大漆的物理性、时间性深深的吸引了我，这也是我后来首个个展“时间胶囊”的缘起。
After graduating from my undergraduate studies, I engaged in several years of comprehensive material practices such as mural painting, tempera, sculpture, and spatial installations. This period significantly enhanced my understanding and application of material properties. In 2016, I happened to come across an image of a lacquer bow from the ruins of the Xiaoshan Cross-Lake Bridge in Hangzhou. I was deeply impressed that a bow from 8000 years ago could be preserved to this day without corrosion or carbonization. The physical and temporal aspects of lacquer deeply fascinated me, which was also the origin of my first solo exhibition "Time Capsule".
您一直在持续探索漆艺的可能性，近期有哪些新的尝试和思考？
You've been continuously exploring the possibilities of lacquer art. What new attempts and reflections have you made recently?
创作一直都在推进中，关注点不会有太大的变化，但会尝试从更多的维度来思考创作，除了视觉，触觉甚至是听觉的。
The creative process is an ongoing exploration. While the focal points remain consistent, I'm exploring creativity from additional dimensions, incorporating not only visual aspects but also tactile and auditory elements.
抽象艺术融合东方材料，这中间是否存在着东西方审美意识的重叠、并存或嬗变？
The fusion of abstract art with Eastern materials—does this involve an overlap, coexistence, or transformation of Eastern and Western aesthetic consciousness?
这个肯定是存在的。我的创作一直围绕着“造物”展开，把传统温润、内敛的大漆媒介与理性、简洁的造型结合，这是个人多种经验的并置与重置而生发出来的。“大道至简”，“少即是多”，这些在东西方都存在着共通性。我们出生在中国，自然会受到东方文化、东方审美的影响，这是你想逃也逃不掉的，它已经渗到你的基因里。同时，早年油画的学习经历，以及对当代艺术的思考与反思，也让我重新去思考个体的创作。
Certainly, there is an overlap. My creative endeavors revolve around the theme of "making things," combining the traditional warmth and subtlety of lacquer with rational and concise forms. This juxtaposition and reconfiguration arise from a variety of personal experiences. Concepts such as "the Dao is simplicity" and "less is more" are universal in both Eastern and Western aesthetics. Growing up in China, one is naturally influenced by Eastern culture and aesthetics; it's ingrained in your genes and cannot be escaped. Simultaneously, my early experience with oil painting and reflections on contemporary art prompted a reevaluation of individual creativity.
如何理解“再生长”系列是时间的艺术？
How do you interpret the "Regeneration" series as the art of time?
“再生长”系列是对过去的生命体的重构与再现。生物化石是过去时空的见证，它曾经是鲜活的生命体，经历漫长的时间而沉淀下来。“再生长”系列用具有时间性、保护性的大漆对生物化石进行包裹、重构，大漆是具有生命的，是会随着时间而呼吸的自然之物。用大漆包裹化石，在当下时空赋予化石新的生命意义，让过去的生命体与现有社会的物质继续存在下去，让过去与当下对话、共生。
The "Regeneration" series involves the reconstruction and representation of past life forms. Biological fossils bear witness to past time and space, once vibrant life forms preserved through the ages. The series employs lacquer, a medium with temporal and protective qualities, to encapsulate and reconstruct these biological fossils. Lacquer possesses life, breathing with time as a natural entity. By enveloping fossils in lacquer, the series imparts new meaning to these relics in the present time and space, facilitating a dialogue and symbiosis between the past and the present.
《M02：闽江漂流记》是否跟您的个体记忆有关，当时是怎么萌发的？
Is "M02: Minjiang Drift Notes" related to your personal memories, and how did the idea originate?
我在孩童时期是一个特别调皮捣蛋的孩子，家庭教育几乎是放养式的。当时村里有几条小溪，放学后基本都在溪边抓鱼摸虾，溪水承载了我大部分的童年记忆。除此之外，还会跟小伙伴用芭蕉树拼合成小船，在溪中嬉戏漂流，玩够了会看着小船随波逐流消失在视野中，偶尔也会思考，小船会飘到哪里，等待它的是什么。大学时代在福州度过，听闻过许多闽江的过往，闽江是福建的母亲河，它自西北流向东南，最后汇入太平洋。闽江见证了福建先民的一路迁移，它指向过去流向未来。“山河依旧，物是人非”。《M02》试图探讨，在时间的长河里，个体如何对抗时间，如何留存个体存在过的信息，探讨人造物与自然，个体与时空的关系。
During my childhood, I was a mischievous and playful child, raised with almost free-range parenting. The village had several small streams where I spent most of my afternoons catching fish and shrimp. Apart from that, I would join friends in constructing small boats from banana trees and playfully drifting along the stream. Watching the boat disappear downstream, I occasionally pondered where it might end up and what awaited it. During my university days in Fuzhou, I heard many stories about the Minjiang River, the mother river of Fujian, witnessing the migration of the province's ancestors. Flowing from northwest to southeast, the Minjiang River eventually merges into the Pacific Ocean. The river witnessed the migration of Fujian's early inhabitants, pointing from the past to the future. "Mountains and rivers remain, but people change." "M02" attempts to explore how individuals resist time's flow and retain the information of their existence, examining the relationship between artifacts and nature and the individual's connection to time and space.
