前
言
范欣曾在香港管弦乐团担任中提琴手二十年，这份音乐年华形成了她生命里最重要的记忆。从她口中得知，因是音乐世家，所以一直接受小提琴和中提琴的演奏训练，这份选择是顺理成章的，但视觉化的创作是她自小就感应的生命力。令人动容的是，她用理性的方式，守候一场感性的爆发，其代价是前半生甘于合奏的光阴。现今，范欣大部分时间居住在香港，日常除了绘画，也兼职教琴和客串演奏。其绘画主要以水墨为主，据表述，水墨是她尝试最能展现声音振动的图像表达。通过使用不断重复折叠的宣纸，将其浸染于墨中，借水墨的流动，去模拟生生不息的运作过程。“时间的绵延”在范欣的绘画中，是视觉技巧赋予的存在价值。例如柏格森的音乐比喻：听一首交响乐，当听到第三个音符时，前两个音符并没有消失，它们依然在你的意识里回荡，并渗透改变你对第三个音符的感受。与范欣的交谈中，不难发现，她是一个表达自信的人，思维更面向行动，并不断探索其绘画视觉从二维到三维的空间转换。琴房是她对感官体验的一次艺术试验，希望观众能从The Cargo的传递中发现音乐和视觉的交织。对于音乐家背景的范欣来说，琴房更像是身体图式，一个开放的生态系统，将训练的工具，化为肉身的延伸。琴凳确定声音的方向性与身体的扭转，被夹在所有声部的中心。当节拍器的节奏点在日复一日的纪律中，幻化成琴房的墙纸皮肤，分开的小提琴在此刻暗示一种不依赖于理性的、活生生的前反思。时间是不可逆的，过去在不断融入，而生命的自由是在绵延（时钟）中完整的自我创造（镜射）。
Preface
Fan Yan served as a violist in the Hong Kong Philharmonic Orchestra for twenty years, a musical chapter that has become the most cherished memory of her life. Growing up in a musical family, it was only natural for her to undergo rigorous training in both violin and viola. Yet, visual creation was a life force she had felt drawn to since childhood. Touchingly, she chose a rational path to bide her time for an emotional outburst, a choice that cost her the first half of her life, contentedly spent in the harmony of ensemble playing.Today, Fan Yan spends most of her time in Hong Kong. Aside from painting, she teaches the violin and viola part-time and makes occasional guest appearances in performances. Her artwork primarily focuses on ink wash, a medium she finds best capable of capturing the visual representation of acoustic vibrations. By repeatedly folding Xuan paper and immersing it in ink, she harnesses the fluid motion of the wash to simulate the continuous, endless cycle of life.In Fan Yan's paintings, "the duration of time" is a value of existence brought to life by visual technique. This echoes Henri Bergson’s musical metaphor: when listening to a symphony, by the time you hear the third note, the first two have not vanished; they still resonate within your consciousness, permeating and altering your perception of the third note.Conversing with Fan Yan, one quickly perceives her confident expression and action-oriented mindset, as she constantly explores the spatial transition of her visual paintings from two dimensions to three. The Piano Room (Music Room) is an artistic experiment of her sensory experiences, through which she hopes the audience will discover the intertwining of music and visuals mediated by The Cargo.For Yan, with her background as a musician, the room resembles a body schema—an open ecosystem that transforms the tools of training into an extension of the flesh. The piano stool determines the directionality of sound and the twisting of the body, wedged at the very center of all musical parts. As the ticking of the metronome morphs into the wallpaper skin of the room through day-in, day-out discipline, the disassembled violin hints at a living, pre-reflective state that does not rely on rationality.Time is irreversible; the past continuously blends into the present, and the freedom of life is the complete self-creation (mirroring) within duration (the clock).
自
述
音乐与视觉在三维空间的碰撞、互动一直都是个令人着迷的艺术探索。当我将复调的对称图案裱在小提琴上时，一个由琴到沉浸式三维体验的想法便油然而生。在一个音乐家看来，琴房是一个沉浸与修练的空间。这里记载着每个音阶，每个流畅乐句，每场音乐会细节精准打磨，以及对乐章完美呈现的坚持，而琴房中的物件则承载着音乐中复调的概念。
1. 椅子：相同的颜色不同叠染的技巧做出的图案出现在椅子的各个层面，每一个层面代表不同的和声震动，从而形成一个“复调练习椅”。
2. 节拍器：代表节奏与纪律，其滴答声创造背景，提醒掌握艺术所需的时间与耐心。节拍机的节奏与背景的点状图案相呼应，巧妙地将声音和环境融为一体。
3. 小提琴：将小提琴分成两半，琴面的线状图案与下垂的线相组合，联想声音和旋律。
4. 镜子：利用镜面的反射将半个小提琴对称而完整地悬浮于镜中。镜子的形状与小提琴的弧度完美呼应。
5. 墙纸：变换的图案由圆点的形式出现，表现音乐的节拍，也暗示音乐中的核心：由理性结构而建造的感性世界。所有物件沉浸在点状的“节拍”中，呼应、互动。
6. 时钟: 时间见证着音乐家在这里的坚持及对完美的不懈追求。深蓝到橙色的渐变，暗示着时光的流逝。
作品“琴房”，探索音乐、视觉艺术与感官体验的交织。沉浸式环境邀请观众透过听觉、视觉、情感与艺术互动，希望观众从这个简单的试验中发现水墨表达的可能性和趣味性。
Artist's Words
The collision and interaction between music and vision in a three-dimensional space has always been a fascinating artistic exploration. When I mounted the symmetrical patterns of polyphony onto a violin, the idea of shifting from a single instrument to an immersive 3D experience naturally came to life.To a musician, the practice room is a sanctuary for immersion and refinement. It chronicles the meticulous polishing of every scale, every fluid phrasing, and every detail of a concert performance, embodying an unwavering dedication to the perfect presentation of a movement. The objects within this room, in turn, carry the very concept of polyphony in music.
1. The Chair: Patterns created using the same color but different layering and dyeing techniques appear across various surfaces of the chair. Each layer represents a different harmonic vibration, thereby forming a "Polyphonic Practice Chair."
2. The Metronome: Representing rhythm and discipline, its ticking creates a sonic backdrop—a reminder of the time and patience required to master an art form. The tempo of the metronome echoes the dot patterns of the background, seamlessly blending sound with the environment.
3. The Violin: By splitting the violin in half, the linear patterns on its surface combine with the cascading lines below, evoking associations with sound and melody.
4. The Mirror: Utilizing reflection, half of the violin is suspended symmetrically and completely within the mirror. The contours of the mirror perfectly echo the curves of the violin.
5. The Wallpaper: The shifting patterns manifest as dots, representing the beats of music while hinting at its core: a perceptual world built upon a rational structure. All objects are immersed in this dotted "beat," echoing and interacting with one another.
6. The Clock: Time bears witness to the musician’s perseverance and relentless pursuit of perfection. The gradient from deep blue to orange subtly hints at the passage of time.
艺术家
简介
范欣出生于北京音乐世家，自幼接受传统训练成为小提琴和中提琴演奏家，并酷爱绘画。一九八七年来港就读香港演艺学院，毕业后加入香港管弦乐团担任中提琴手二十年。二〇一一年开始全情投入绘画创作，追寻儿时习画的梦想。她通过把宣纸折叠并染色的创作手法，令作品中的图案揭示乐谱的重复性。范氏以这种实验性的艺术实践，不断探索新的视觉语言来演绎音乐的各种元素，在短短几年间建立起独特的个人风格。
二〇二〇年，她创作的“Polyphonies”音乐系列获得多项奖项，包括大华银行艺术画廊年度水墨大奖和“全球水墨画大展”奖。作品亦曾展出于韩国、新加坡和俄罗斯。二〇二四年，范欣的作品入选国泰航空项目“空中画廊”，这是一项为新机队商务舱策划的展览计划。2025年，她最新的硅胶纸塑灯系列入选上海纸艺双年展，并于上海西岸艺术博览会展出。
个展
2024 「琴房」装置艺术，典亚艺博 (Fine Art Asia)
2023 「恒・变・律动！」法国五月艺术节联办项目，香港视觉艺术中心
2022 「法国五月艺术节」，艺倡画廊-香港仔空间，香港
2021 「复调」，Campo Marzio 概念店（大馆），香港
Artist
Biography
Fan Yan born into a musical family in Beijing, Fan Xin received classical training from an early age and became an accomplished violinist and violist, while harboring a deep passion for painting. In 1987, she moved to Hong Kong to study at The Hong Kong Academy for Performing Arts. Upon graduation, she joined the Hong Kong Philharmonic Orchestra, where she performed as a violist for twenty years. In 2011, she decided to dedicate herself entirely to painting, fulfilling her childhood dream of pursuing art. By folding and dyeing Xuan paper, Fan Yan creates intricate patterns that reveal the rhythmic repetitions found in musical scores. Through this experimental approach, she continuously explores new visual languages to interpret various musical elements, establishing a distinct personal style within just a few years.
In 2020, her "Polyphonies" series won multiple accolades, including the UOB Art Gallery's Annual Ink Art Award and an award at the "Global Ink Painting Exhibition." Her works have been exhibited internationally, including in South Korea, Singapore, and Russia. In 2024, Fan’s artwork was selected for Cathay Pacific’s "Gallery in the Skies" project, a curated exhibition initiative designed for the business class cabins of its new fleet. In 2025, her latest silicone-paper sculpture light series was selected for the Shanghai Paper Art Biennale and showcased at the West Bund Art & Design in Shanghai.
Solo exhibitions
2024 "The Music Room" installation art, Fine Art Asia
2023 "Permanence, Change, and Rhythm!", Associated Project of French May Arts Festival, Hong Kong Visual Arts Centre
2022 "French May Arts Festival", Alisan Fine Arts-Aberdeen Space, Hong Kong
2021 "Polyphonies", Campo Marzio Concept Store (Tai Kwun), Hong Kong
The Cargo是LXD STUDIO运营的一个非盈利的实验微空间和艺术品牌，由发起人刘晓都于2021年在深圳华侨城创意文化园创立。主要围绕艺术、设计等创意类型项目展开，目前涵盖内容有艺术展览、创意产品、学术活动等......The Cargo 作为一个微型实体艺术空间希望成为实验性艺术的“橱窗”，进而形成超越实体空间的影响力。
来源 | 光明文化艺术中心
