𝗞𝗶𝗮𝗳 𝗦𝗘𝗢𝗨𝗟 𝟮𝟬𝟮𝟲
素描手稿累積日常細節，並以近似塗鴉、自由游移的繪畫語言，描繪幽默而真實的想像世界，映照個體生活狀態的微妙變化。
HSIAO, Chu-Fang accumulates fragments of everyday life through sketches and drawings, and, through a near-graffiti, freely drifting painterly language, depicts an imagined world that is at once humorous and real, reflecting subtle shifts in lived experience.
分享一個最近特別吸引你的日常場景?
最近比較特別的發現是在浴室裡一些散落的頭髮。當我觀看它們時，會覺得好像呈現一種很隨意的狀態，由時候甚至自然而然會讓人聯想到某種表情。那些自然彎曲的線條，也帶有一種抽象繪畫的感覺。
Has any everyday scene caught your attention recently?
Recently, I noticed some loose strands of hair scattered around the bathroom. When I looked at them, they seemed to have fallen into this very casual state. Sometimes they would even suggest a certain facial expression. The naturally curling lines also bring me a sense of abstractness.
一碗熱湯冒出的熱氣，也開始有了自己的表情？
這個主題來自碗的形狀。我覺得碗是一個很飽滿、圓滿，也很恰如其分的造型。如果碗裡裝著熱湯或熱飯，就會冒出熱氣。於是我開始描繪那些被擬人化的煙霧，它們看起來好像是一家人，又像是一個群體。至於它們的表情，有時相似，有時又各不相同。
Can steam rising from a bowl of hot soup take on expressions of its own?
This idea comes from the shape of the bowl. To me, a bowl has a sense of fullness and completeness, it feels like a form that is just right. When it holds hot soup or rice, steam rises, then I started to imagine that steam as characterized figures. Sometimes they look like a family, sometimes more like a group. Their expressions can resemble one another, but at other times they are completely different.
多年後重新觀看作品的轉變，一道「刀疤」怎麼變成了《嚇一跳》？
這件作品完成時，我以臉上的垂直痕跡作為觀看起點，因此命名為《刀疤》。經過多年後重新觀看，我發現作品真正成立的不是那一道痕跡，而是人物整體呈現的情緒，一種突然受到刺激、瞬間僵住的表情。因此我重新命名為《嚇一跳》。新的名稱讓作品從「受傷」轉向「感受」，也讓觀眾以自身經驗去閱讀，而不是被單一敘事所限制。
Viewing the work years after, how did a “Scar” become Startled ?
When the work was first completed, I focused on the vertical mark on the figure′s face, so I named it Scar. Looking at it again years later, I realized that what really defined the work was not the mark itself, but the figure′s overall emotional state, a kind of expression that someone suddenly shocked and froze in that instant.
That was why I renamed it Startled. The new title shifts the work from“Injury” towards“Sensation”, allowing viewers to read it through their own experiences rather than being confined to a single narrative.
「幽默」在你的作品之中扮演什麼角色？
我覺得幽默像是一種看待事情的方式。有時我們採取嚴肅的角度未必能解決問題，所以也可以換個角度，以幽默去理解。不過在創作上，我並不是為了幽默而畫，而是希望藉此讓更多人理解我的創作，甚至小朋友也能看得懂，對我來說是一件很重要的事。因此我畫的不一定是非常深刻的內容，只是呈現某種情緒狀態。透過直接的繪畫表現，讓大家自然地理解微小事物。
What role does humour play in your work?
Humor is a way of looking at things for me. Approaching a problem with a serious attitude does not necessarily help us resolve it, so sometimes we can understand it differently through humour.
But I don′t make paintings simply to be humorous, I just hope my work can be more accessible, even to children, and that is very important to me. What I paint does not necessarily have to be something profound. Sometimes it is purely an emotional state. Through a direct way of painting, I want people to intuitively understand these tiny and yet ordinary things.
什麼契機從壓克力平塗，轉向層層堆疊、充滿律動感的筆觸？
早期繪畫風格透過簡潔的色塊、俐落的輪廓與直接的構圖來建立畫面，重視造型與敘事間的關係。2015年接觸陶藝後開始轉變，重新思考了創作與身體的連結。陶土反覆堆積、塑形、修整的過程，使我意識到作品不只是結果，更包含了時間、動作與身體感的累積。我開始放慢作畫節奏，不再追求平整均勻的色面，而是透過層層筆觸的堆疊，保留過程痕跡與律動。
What prompted the shift from flat acrylic color to layered, rhythmic brushwork?
My earlier paintings were built through simple color blocks, clean contours and direct compositions, with an emphasis on the relationship between form and narrative. That began to change after I started working with ceramics in 2015, which made me reconsider the connection between making and the body.
The repeated process of building up, shaping and refining clay made me realize that a work is not simply its final result, it also carries an accumulation of time, movement and bodily experience. I began to slow down my painting process. Rather than pursuing smooth, even areas of color, I started layering brushstrokes, preserved traces of the process and its rhythm.
畫作背景中的圈圈符號，最初是如何出現的？
我會畫圈圈，主要是因為去文具店買筆。店裡通常放著試寫的小本子，大家都會在上面隨意亂畫，測試筆好不好寫。有一次我心血來潮地翻看以前留下來的痕跡，發現每個人使用不同顏色、不同速度，有的人畫得很慢，有的人很急。這些線條好像超越了語言，卻又能表達某種情緒。這種很直覺的狀態讓我覺得很有趣，於是就開始把這樣的方式帶進創作裡。
How did the circular symbol in the backgrounds of your paintings first appear?
The circles actually came from buying pens at stationery shops. There are usually little notepads where people scribble to test whether a pen writes well. One day, on a whim, I began looking through the marks people had left behind. Everyone used different colors and moved at different speeds, some drew very slowly, while others were quick.
Those lines seemed to go beyond language, yet they could still convey a certain emotion. I found that instinctive condition fascinating, so I began bringing it into my own work.
當影子從平面變成立體，它會不會也開始擁有自己的故事？
某天我在畫畫卡住的時候，正苦惱著眼前的作品要繼續發展，或是要打掉重練，當下看到自己影子，覺得它在休息。曾經在柯南的動畫裡面看過，作者用黑影人來描繪每個還沒破案的犯罪者。我想如果影子也能成為一個立體的物件，它似乎也有自己的劇情，成為《休息一下的泥》這件作品的靈感來源。
When a shadow shifts from two dimensions into three, does it start to have a story of its own?
One day, I was stuck on a painting and couldn′t decide whether to keep developing it or start over. At that moment, I noticed my own shadow and it looked as though it was taking a break.
I remembered watching Detective Conan, where unidentified suspects are usually depicted as black silhouettes before a case is solved. I began wondering if a shadow became a three-dimensional object, perhaps it could have a narrative of its own. That became the inspiration for Mr. Mud in a Break.
《夢遊》既像一盞小夜燈，又能引導人們重新觀看自己的夢境？
鑰匙孔很有趣，如果把它看成一種表情，就像是一個謎裡面藏著很多故事，需要有人去開啟。而當它被打開之後，或許就會有意外的發現。我將鑰匙孔視為通往夢境的入口。每個人都會做夢，而我常常會在醒來之後回想夢裡發生的事情，思考那些內容是否反映了自己最近的生活狀態，或是潛意識。後來我發現，夢境其實能帶來許多自我察覺與自我發現的機會。
Sleep Walking seems to be both a night light and a way of reviewing our dreams?
I find keyholes pretty interesting. If you see it as an expression, as if it is a mystery containing many stories, waiting for someone to unlock it. When it is opened, perhaps something unexpected will be revealed.
I see the keyhole as an entry to dreams. Everyone dreams, and when I wake up, I often recall what happened in mine, thinking whether those dreams reflect my recent life or my subconscious. I realized afterward that dreams can offer many opportunities for self-awareness and discovery.
當世界充滿聲音，你想讓人們停下來聽見什麼？
在當代社會中，人們不斷表達、回應與發聲，而「傾聽」反而成為稀缺的能力。當人物安靜地停留在自己的世界裡，彷彿正在接收某種來自外界或內心的訊息。《我正在聽》邀請觀者在觀看的過程中放慢速度，感受那些容易被忽略的內在聲音。
In a world full of noise, what do you wish people to stay and listen to?
In contemporary society, people are constantly expressing themselves, responding and making their voices heard, the ability to listen has become increasingly rare. When a character quietly remains within its own world, as though receiving a message from outside or from within.
The work I am Listening invites audiences to slow down the pace of viewing, and to sense the easily overlooked inner voices.
親愛的陌異 𝗗𝗲𝗮𝗿 𝗔𝗹𝘁𝗲𝗿𝗶𝘁𝘆
蕭筑⽅的作品中，顏⾊並非單純服務於造形或敘事，⽽更像是⼀種情緒的氣候。
分享一個最近特別吸引你的日常場景?
最近比較特別的發現是在浴室裡一些散落的頭髮。當我觀看它們時，會覺得好像呈現一種很隨意的狀態，由時候甚至自然而然會讓人聯想到某種表情。那些自然彎曲的線條，也帶有一種抽象繪畫的感覺。
畫作背景中的圈圈符號，最初是如何出現的？
我會畫圈圈，主要是因為去文具店買筆。店裡通常放著試寫的小本子，大家都會在上面隨意亂畫，測試筆好不好寫。有一次我心血來潮地翻看以前留下來的痕跡，發現每個人使用不同顏色、不同速度，有的人畫得很慢，有的人很急。這些線條好像超越了語言，卻又能表達某種情緒。這種很直覺的狀態讓我覺得很有趣，於是就開始把這樣的方式帶進創作裡。
「幽默」在你的作品之中扮演什麼角色？
我覺得幽默像是一種看待事情的方式。有時我們採取嚴肅的角度未必能解決問題，所以也可以換個角度，以幽默去理解。不過在創作上，我並不是為了幽默而畫，而是希望藉此讓更多人理解我的創作，甚至小朋友也能看得懂，對我來說是一件很重要的事。因此我畫的不一定是非常深刻的內容，只是呈現某種情緒狀態。透過直接的繪畫表現，讓大家自然地理解微小事物。
這次展出的《湯》系列有別於過去的創作？
其實這系列是在展覽與展覽之間的空窗期所發展出來的摸索狀態。以往我在摸索時，比較常透過碳筆素描去尋找方向；但最近我發現，透過直接繪畫這些小作品，反而更容易去觀看作品裡面的內容。雖然作品尺寸不大，但其實花了很長的時間。因為我幾乎每天都會去修改它，每一天都會有一些細微的變化。
這個主題來自碗的形狀。我覺得碗是一個很飽滿、圓滿，也很恰如其分的造型。如果碗裡裝著熱湯或熱飯，就會冒出熱氣。於是我開始描繪那些被擬人化的煙霧，它們看起來好像是一家人，又像是一個群體。至於它們的表情，有時相似，有時又各不相同。
《夢遊》既像一盞小夜燈，又能引導人們重新觀看自己的夢境與內在世界？
鑰匙孔很有趣，如果把它看成一種表情，就像是一個謎裡面藏著很多故事，需要有人去開啟。而當它被打開之後，或許就會有意外的發現。我將鑰匙孔視為通往夢境的入口。每個人都會做夢，而我常常會在醒來之後回想夢裡發生的事情，思考那些內容是否反映了自己最近的生活狀態，或是潛意識。後來我發現，夢境其實能帶來許多自我察覺與自我發現的機會。
你會如何描述自己現在的創作階段？
我的創作比較關注當代社會中人們不同的情緒狀態，並透過繪畫的方式，運用顏色與筆觸將它們呈現出來。我覺得這個過程就像是在畫面中尋找一個平衡點，而在不斷地畫、不斷地調整之中，慢慢找到自己想要的答案。
