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兼具功能性的艺术家具，遇上纷繁万象的图像语言，将为艺术场域带来怎样的磁场能量？

What powerful energy will be unleashed in the art world when functional art furniture meets a diverse visual language?

▼空间概览，Overall view of the space ©泡泡艺廊

近日，艺术家蔡赟骅JACKY TSAI深圳首展“万象与留白”于深圳市当代艺术和城市规划馆启幕开展。深圳泡泡艺廊受艺术家邀请，共同打造展览中的艺术长凳系列。于此期间，我们不妨“坐下聊聊”，与异开设计&深圳泡泡艺廊创始人毛桦、艺术家蔡赟骅JACKY TSAI，展开一次关于设计与艺术的观念性探讨，听一听他们此次共创背后的奇思妙想。

The Shenzhen Museum of Contemporary Art and Urban Planning (MOCAUP) recently played host to artist Jacky Tsai’s Shenzhen debut exhibition “A Journey of All and None”, where the artist collaborated with PP Design Gallery in creating a collection of art benches displayed at the exhibition.Let’s take a moment to “sit down and talk” with Mao Hua, founder of EK Design & PP Design Gallery, and Jacky Tsai, to investigate the intersection of design and art. We’ll unravel the whimsical ideas fueling this collaborative creation.

▼艺术家蔡赟骅和异开设计&深圳泡泡艺廊创始人毛桦
Artist Jacky Tsai (left) and Mao Hua, founder of EK Design and PP Design Gallery ©泡泡艺廊

01 把可以用的艺术品带回家
WORKS OF ART THAT CAN BE USED

九把长凳的起源，其实算是必然之中的偶然。一个是从业室内设计领域20余年的资深设计师，一个是探寻东方传统文化和西方波普流行文化融合的个性艺术家，毛桦与蔡赟骅共同毕业于伦敦艺术大学，二人的结缘并不复杂，如蔡赟骅所说，“对家具设计情有独钟”。

The origins of the nine benches are, in fact, an accidental necessity. Mao Hua, a seasoned interior designer with over two decades of experience, and Jacky Tsai, a distinctive artist exploring the fusion of traditional Oriental culture and pop culture, are both alumni of the University of the Arts London. Their initial encounter was built upon a simple connection – “an obsession with furniture design,” as Tsai puts it.

▼空间概览，Overall view of the space ©泡泡艺廊

“一开始说要一起在伦敦开咖啡厅，还没开起来，那不如先在深圳做把长凳。” 看似美妙而意外的起因，背后也藏着彼此合力完成一件事情的共识——做一个兼具功能性的艺术家具。

Their original plan was to open a cafe in London together, but the venture never came to fruition. Instead, they proposed, “Why not construct a bench in Shenzhen first?” Behind this serendipitous decision was a mutual dedication to crafting functional art furniture.

▼艺术家和设计师在展览中产生的行为，Behavior of the artist and the designer in the exhibition ©泡泡艺廊

“Jacky是一个思路开阔、不太循规蹈矩的‘接地气’艺术家。在他的意识里，设计和艺术并非是两个完全不同的领域。这也和我的观念特别契合，我们都是属于愿意在这种边界上游离的人。”

——毛桦

“Jacky is an open-minded and non-conformist artist who is grounded,” Mao Hua said. “He believes that design and art are not separate domains. This idea perfectly aligns with my views. We both belong to the group of individuals who are willing to stray from conventional boundaries.”

—Mao Hua

诚如艺术和设计之间混沌不清的界线，艺术家走向设计领域，设计师开始“放飞”的艺术探索，那么，观者和艺术品、家具之间的边界关系是否也能以新的形式进一步消解、再连结？

Much like the indefinite boundary between art and design, where artists venture into design and designers explore art, can the connection between the viewer, the artwork, and the furniture expand and evolve into a new form?

▼艺术长凳系列《暗涌》，”Undercurrent” from the art bench series ©泡泡艺廊

通体暗黑的色泽，隐现密致的纹路，深沉的力量之下涌动哲思隐喻。“在国内，大部分人认为家具就是功能性产品，还处在‘好即是贵’的认知程度，选择去购买量产化的品牌家具产品，也很难跟艺术品扯上关系。但也有少部分人关注到艺术家具这一领域。从早年名贵古董家具的收藏，到现在所谈论的VINTAGE这类非量产家具。我认为还有一个是介于艺术品和量产家具之间的领域，即艺术家创造的具有功能性的非量产家具，这是一个模糊的界线。”相较于国外对艺术家具的广泛认知，于国内而言似乎是一个待填补的空白。

Shrouded in a dark hue and intricate lines, this bench exudes a philosophical metaphor under its profound power. “In China, furniture is often viewed as purely functional, with people thinking ‘what is good is expensive,’ and opting for brand name, mass-produced furniture that lacks artistic flair. Nonetheless, there is a niche group that values art furniture,” Mao Hua said.”From collections of expensive antique furniture in the past to contemporary non-production pieces like vintage furniture, a gray area exists between art and mass-produced furniture – non-mass-produced, functional creations by artists,” she added. In comparison to the widespread recognition of art furniture abroad, there seems to be a gap waiting to be closed in China.

▼装置正立面，Front view of the installation ©泡泡艺廊

几乎所有展览里的艺术品都是只能远观、不能近触，但也不是所有艺术品都如“高岭之花”一样。艺术长凳的出现，不仅是“填补一种空白”，更是以自然而然的互动方式融入展览、艺术品的一部分，观者可以用身体感知艺术长凳的匠心工艺。面对艺术家具的未来，蔡赟骅提出“希望人们可以把这些可以用的艺术品带回家”的期待。

Despite that most artworks in exhibitions remain untouchable, not all art pieces are unattainable and elusive. The art bench collection is not merely there to “fill a gap”; rather, it seamlessly integrates into the exhibition and the artwork, offering a natural and interactive experience. This approach enables viewers to physically connect with the art benches’ craftsmanship.Looking forward to the future of art furniture, Jacky Tsai envisions a world where “individuals can easily attain functional artworks and bring them home.”

▼展览空间概览，Overall view of the exhibition ©深圳当代艺术与城市规划馆

从展览现场上看，配以绚丽图案的艺术长凳并未“喧宾夺主”，外形设计简约、且不张扬。朴素的外观之下，蕴藏着中国传统文化和西方波普文化在当代艺术语境下的重生。

The art benches at the exhibition site, adorned with vibrant patterns, gracefully avoid overshadowing the main attraction. Their simple and unobtrusive design conceals a fusion of traditional Chinese culture and Western pop culture within the realm of contemporary art.

▼展览空间概览，Overall view of the exhibition ©深圳当代艺术与城市规划馆

在蔡赟骅看来，上世纪六七十年代的波普艺术有一种轻松、幽默、反讽。因此，他所呈现的作品内核也反映着自身对中西方文化的当代性思考，蕴含着丰富的中国传统文学、神话和艺术元素，以及非遗手工材质与技艺。

As per Jacky Tsai, the 1960s and 1970s pop art featured a sense of lightness, humor, and irony. Accordingly, the essence of his presented works reflects his contemporary contemplations on Chinese and Western cultures. These creations weave traditional Chinese literature, mythology, and art with handmade materials and techniques honored as intangible cultural heritages.

▼艺术长凳系列《斓漫》，”Permeating” from the art bench series ©泡泡艺廊

绚丽的色彩如水流一般漫溢出来，仅此一处，却仿佛能想象到无边无际的视觉幻景。拿到“中西合璧”这一命题的毛桦，与蔡赟骅所想不谋而合，“提起文化，往往有一种沉重感。在艺术家具的文化性挖掘上，我们希望做得轻松一点，尝试在东方文化里融入西方的幽默感，再重新演绎。”

Vivid colors flow like water, creating a captivating display that appears to generate an endless visual hallucination in a single area.Mao Hua, entrusted with the task of mixing East with West, aligns Jacky Tsai’s viewpoint. “Culture often carries a significant connotation. In our exploration of the cultural perspective of art furniture, we aim to reduce the burden, integrate a Western sense of humor into Eastern culture, and provide a new interpretation.”

▼艺术长凳系列《斓漫》，”Permeating” from the art bench series ©泡泡艺廊

“从建筑的角度来说，中国古建筑擅用木材，远在西方的古希腊文明，那里的人们更喜欢用石头来建造房屋。”艺术长凳系列之一《开石》以染色木皮拼花契合艺术家的波普图像语言，以石与木的材质结合，再用贝壳镶嵌的工艺呈现以艺术家形象所衍生的“蔡将军”。

“From an architectural perspective, ancient Chinese structures excelled in using wood, while in ancient Greek civilization, stone was the preferred material for building.” “Rock Carving”, one of the art benches, skillfully integrates stained wood veneer inlays with the artist’s pop graphic language. It combines stone and wood materials smoothly and applies the shell inlay technique to create the image of “General Tsai”, a character inspired by the artist himself.

▼艺术长凳系列《开石》，”Rock Carving” from the art bench series ©泡泡艺廊

木与石的结合，东与西的融合，“开”“石”为“研”，是匠人钻研与探索的情怀。

The fusion of wood and stone, the harmonious mix of Eastern and Western influences, and the imagery of rock carving as the craftsman’s poetic inspiration, embody the essence of conscientious research and exploration.

▼艺术长凳系列《开石》，”Rock Carving” from the art bench series ©泡泡艺廊

在传统木材的桥接下，演绎匠人由东向西开凿着、探索着石材的故事，生成了一个探索西方文明的中国形象，极具趣味和诙谐、鲜活而绚烂。

With traditional wood serving as a bridge, the craftsman excavates and explores the wonders of stone from East to West. This narrative creates an intriguing, vivid, and vibrant Chinese character exploring the Western civilizations.

▼展览作品，Art work of the exhibition ©深圳当代艺术与城市规划馆

回到展览主题，毛桦对“万象与留白”有着自己的理解。“万象”涵盖着艺术家在题材内容上的多维、表达形式上的广泛、图像视觉上的纷繁。“留白”则是留给观众，对作品、艺术家、展览的思考与互动的反馈。

Revisiting the exhibition’s theme, Mao Hua presents her distinctive take on “A Journey of All and None”. Regarding the concept of “all”, the artist creates multidimensional content through extensive means of expression marked by visual complexity in the patterns. The incorporation of “none” invites viewers to contemplate and engage with the artwork, the artists, and the entire exhibition.

▼装置与环境特写，Close-up of the installation and the environment ©深圳当代艺术与城市规划馆

“在西方人的眼里，板凳上的传统符号，也许是一个纹身、一个图腾。Jacky把中国传统瓷器里的青花瓷元素进行了演变、梳理，仔细看会发现里面所隐藏的一些小幽默和故事。这就是留白带来的感觉。”

“To Western observers, the traditional symbols on the benches may bear a resemblance to a tattoo or totem. Jacky further develops traditional Chinese blue-and-white porcelain and rearrange these traditional elements. Closer inspection reveals subtle humor and narratives concealed in his creations. This is the impression embodied in the concept of ‘none’.”

▼装置与环境特写，Close-up of the installation and the environment ©深圳当代艺术与城市规划馆

▼装置内概览，Interior of the installation ©泡泡艺廊

千人千面，万人万相。不同的人、不同的背景、不同的身份去解读一件作品，会有不同的内容产生。

There are as many different faces as there are people. Each individual, with their unique experiences and identity, offers a distinct interpretation of a work of art.

▼艺术长凳系列《赞放》，”Blooming” from the art bench series ©泡泡艺廊

对传统花纹图腾的再次创作，像是一种对文化的赞礼，让古老的艺术再一次绽放生命。

The recreation of traditional floral totems is a tribute to culture, once again reviving ancient art to life.

▼艺术长凳系列《赞放》，”Blooming” from the art bench series ©泡泡艺廊

02 一个没有风格的时代
THERE IS NO STYLE ERA

出身于艺术之家的毛桦，从不把自己局限为普通意义上的设计师角色，对她而言，艺术和设计是没有界限的，在边界之间跳跃，是生长环境和个性使然。

Born into a family with artistic tradition, Mao Hua has never confined herself to the conventional role of a designer. To her, art and design are not separate, and traversing between boundaries is a manifestation of her upbringing and demeanor.

▼毛桦，Mao Hua ©Yushi Li

“没有什么内容会成为永恒的主流。现在是一个没有风格的时代。” 在为越来越多的家居空间做设计的过程中，为了使室内软装与自己所设计的空间高度协调，毛桦希望能找到与每位居住者气质相契合的家具，而不是千篇一律的风格化、毫无个性的同质化。

“No content is destined to be mainstream forever. We’re in an era without any iconic styles.” As she designs more home spaces, Mao Hua aims to create interior soft furnishings that align effortlessly with each space she conceives. The emphasis lies in avoiding the stylized and impersonal homogenization observed in mass-produced pieces by finding furniture pieces resonant with each occupant’s unique temperament.

▼毛桦设计的浙江绍兴私宅，
Zhejiang Private Penthouse, designed by Mao Hua ©朱迪 ©SHADØO PLAY 无镜影相

于是，泡泡艺廊的创立是顺理成章的。作为珠三角地区以国际现代设计为焦点的设计艺廊，泡泡艺廊不局限于对国外艺廊运营模式的生搬硬套，而是在借鉴中摸索艺廊的“本土化”，带来了世界各地极具创意的设计品牌和国际炙手可热的设计产品。

Accordingly, the establishment of PP Design Gallery was a natural move. Located in the Pearl River Delta region, the gallery focuses on contemporary international design yet strays away from replicating the operational models of foreign galleries. It explores the idea of “localization”, which entails skillfully borrowing, and introduces highly creative design brands and popular design products from all over the world.

▼毛桦设计的浙江绍兴私宅，
Zhejiang Private Penthouse, designed by Mao Hua ©朱迪 ©SHADØO PLAY 无镜影相

“如今的家居市场态势，正处于拼品牌的同质化时代，大家开始只认某些品牌，豪宅配大牌，好像进入了一个怪圈。品牌化、基础化的家具产品像瀑布一样倾泻。”

“In today’s home furnishings market dynamics, we find ourselves amidst a wave of brand homogenization. People start to recognize only a select few brands. Luxury homes and big brands become a fixed match. It’s as if we’ve entered a peculiar cycle, where brand name and basic furniture products pour down like a cascade.”

▼家具概览，Overall view of furniture ©泡泡艺廊

在她看来，泡泡艺廊应该是先锋的、可以引领的，让国内市场和消费者感受到前瞻性、个性化的内容，而非倾向于有安全感、可快速商业变现的产物。这也让毛桦确定了泡泡艺廊要走艺术化路线，借以“万象与留白”展览中的艺术长凳系列为契机，开始迈向对兼具功能性的艺术家具的当代化探索。

For Mao Hua, PP Design Gallery should be able to innovate and lead. Rather than yielding to the appeal of commercially promising products that play a safe card, she aims to create progressive, tailored products for the domestic market and its consumers. That’s why she decides that PP Design Gallery ought to follow the path of art. Starting from the art bench series displayed at the exhibition “A Journey of All and None,” Mao embarks on a modern exploration of art furniture that blends functionality and artistic expression.

▼家具概览，Overall view of the furniture ©泡泡艺廊

对于艺术家具未来是否会拥有收藏价值，毛桦认为是必然的发展趋向。相较于更看重升值空间、材质贵重和工艺繁琐程度的老一代收藏家来说，年轻一代正成为时代的主力军，市场的主要消费群体，他们更加开放、更加自信。

When considering the potential value of art furniture collections in the future, Mao Hua observes an inevitable trend. While the older generation of collectors prioritized appreciating space, material, and crafting complexity, the younger generation has emerged as a driving force and major player in the market with more openness and confidence.

▼艺术家和设计师在展览中，Artist and designer in the exhibition ©泡泡艺廊

“人的审美意识，从懵懂、觉醒到提升是需要一个过程的。总会有一部分人先觉醒，去寻找不同的内容。普罗大众也会想有自己的收藏，但空间的限制导致他们无法实现大尺度的收藏。那么一件兼具艺术性、收藏性、功能性的家具放置在家居空间里，是否可以让人居环境抛却随大流的风格化，走向更有品位、个性化的体现？”对此，毛桦始终保持着自省审视的态度看待问题。

“Aesthetic consciousness evolves gradually from ignorance to awakening and enhancement,” Mao Hua reflected. “Some finds awakening first and seek diverse content early on. Ordinary people also want to have their own collections, but they are not able to collect large-scale works due to constraints of space. In this case, can a piece of artful, collectible, functional furniture redefines home spaces, transcending the stylized conformity towards a more tasteful, personalized embodiment?” It’s a question she consistently approaches with introspection and scrutiny.

▼艺术长凳系列《斓漫》《赞放》
“Permeating” and “Blooming” from the art bench series ©泡泡艺廊

“疫情之后，家居产品行业进步的有点缓慢，这抛不开经济形式上的影响。现在慢下来，也不见得是一个坏事。机会没那么多的时候，潜心耕耘自己的领域，认真做事。” 如今，当代人正重新审视人居空间对于自身的重要性，而艺术家具，既是设计与艺术的一次精神性交融，更是伴随着人和社会的思考、涵盖着大众追寻美好生活的期望，让艺术、设计自然而然地栖居于日常生活场景，让每个人的家变得可居可赏。显而易见的，这已是当下的未来。

“After the pandemic, the home furnishings industry is undergoing a slow pace influenced by economic conditions. This slowdown is not necessarily a setback. With fewer opportunities, we can immerse ourselves into our respective fields and focus more on our work.” Currently, people are reevaluating the significance of their living spaces. Art furniture, which combines the spirits of art and design, is interwoven with considerations about humanity and society and caters to the collective pursuit of a better life. It naturally integrates art and design into everyday living spaces. This represents an early glimpse into the future, where every home becomes more than a mere dwelling, but a space to live and appreciate.

艺术长凳设计：Jacky Tsai & PP Design Gallery
展览主题：万象与留白
展览地点：深圳市当代艺术与城市规划馆
展览时间：2023.11.7-2024.1.1
展览总策划与执行：金晶
拍摄：文涛、深圳市当代艺术与城市规划馆、Yushi Li
图片版权：除标注外均属于泡泡艺廊

Bench collection design: Jacky Tsai & PP Design Gallery
Exhibition theme: A Journey of All and None
Exhibition venue: Shenzhen Museum of Contemporary Art and Urban Planning
Exhibition time: Nov. 7, 2023 – Jan. 1 2024
Exhibition curation & execution: Jin Jing
Photos: Wen Tao, Shenzhen Museum of Contemporary Art and Urban Planning, Yushi Li
Image copyright: All belong to PP Design Gallery unless marked

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