2023年仲夏，我前往芬蘭北極圈的波西奧，駐村兩週，期間創作了一系列平面作品。
駐村工作室旁，是一座靜謐的湖泊。一切都非常安靜而透明，走出室外，唯一能聽見的，只有自己的腳步聲，以及波浪輕柔地拍打岸邊沙灘、發出規律的沙沙聲，周而復始。
如果寧靜也有回聲，那麼這些畫，就是回音的漣漪。
創作時，我總以規律的律動、不刻意的造型構築出一重重透明感，只有身體的記憶。更接近於一種回返，一種自然發出的韻律，答，答，答。

文字： 藝術家詩人 潘家欣


In the midsummer of 2023, I traveled to Posio, within the Arctic Circle of Finland, for a two-week residency, during which I created a series of graphic works.
Beside the studio where I worked lay a serene lake. Everything was enveloped in a profound silence and clarity. Stepping outside, the only sounds I could hear were the echo of my own footsteps and the gentle lapping of waves against the sandy shore, a rhythmic hush that repeated endlessly.
If stillness could have an echo, these drawings would be the ripples of that echo.
As I created, I built layer upon layer of transparency with rhythmic movements and unintentional forms, guided only by the memory of the body. It was akin to a return, a rhythm naturally born: tap, tap, tap.

Written by Pan Chia Hsin




利庭芳 Lee Ting Fang

1967 年生,從事陶瓷創作逾 30 年。曾赴法國凡爾賽美術學院進修平面繪畫,畢業於台南藝術大學應
用藝術研究所陶瓷組。2016 年創立陶藝品牌「青青土氣」,致力推廣媒材的多元可能與生活美學。其
創作具陶瓷與繪畫底蘊,雜揉東西方特質,常融合繪畫元素於器物作品,跳脫人們對材質的既定印象。
她擅長於點染勾勒、用色濃淡中,呈現其豐沛而細膩的情感。創作時,她自由穿梭於質地之中,在
繪畫、陶藝、器物設計、空間裡來回思考,藉由線條呈現身體運動軌跡、記憶,以及關於時間的節奏,
以媒材紀錄、保存創造的瞬間,使材質本身得以和空間展開對話。


Lee Ting Fang
Born in 1967, she has been engaged in ceramic creation for over 30 years. She studied at the Versailles School of Fine Arts in France and graduated from the Ceramics Program at the Graduate Institute of Applied Arts at Tainan National University of the Arts. In 2016, she founded the ceramic brand “Chin Chin Pottery,” dedicated to exploring the diverse possibilities of the medium and promoting lifestyle aesthetics. Her work is deeply rooted in both ceramics and drawings, blending Eastern and Western characteristics. She often integrates drawing elements into her ceramic pieces, challenging conventional perceptions of the material.
She excels in using fine strokes and varying shades of color to express her abundant and delicate emotions. When creating drawings, she freely traverses between the details of drawing, ceramic techniques, utensil design, and reflections on time and space. Through lines, she captures the trajectory of body movements, bodily memories, and the rhythm of time, using the medium to record and preserve moments of creation, allowing the material itself to engage in a dialogue with the space in which the work exists.

REFERENCE

純Object 臉書
純Object 官網