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Pao-Leng Kung

龔寶稜





I know Pao-Leng because her paintings are showing on IG. The experiment works with bright colours and fragments are elegant and lovely. When we start the silk scarves project, quickly thought of her, She said yes almost immediately.  Unlikely a gentle appearance, her actions are efficient, just like her work with a purely poetic, refreshing appearance in front of everyone.

Like everyone else, I know her at this moment. She is the first person in the project we invited who have many commons with us, such as sensitive to the self, and the world. Many of the actions we have made are in response to the process of dialogue with the artist's sensitive. We all like her transparent character.



會認識寶稜是因為在IG上面看過她的畫,顏色鮮豔、碎片組成的實驗優雅又可愛,瞄到她的居住地在倫敦的時候感到親切。當我們開始絲巾計畫想法時很快地就想到了她,寶稜也一口就答應。和溫和外表不同的是,她的行動總是俐落有效率,就像她的作品一樣帶著乾淨的詩意,清爽地出現在大家面前。

我和大家一樣都在此刻接觸她,認識她;身為第一個小葉絲巾的藝術家的確與我們有許多共通點,對世界、自身、周遭敏感,我們所做的許多行動都是在回應這個敏感,喜歡和寶稜對話的過程,以及近乎透明的她。













Pao-Leng: I’m called a loner by people around me jokingly pretty often. Because, in terms of personality, I’m not socially active, and that I like to be alone quite often, it’s all about the atmosphere and ways of thinking I perceive when interacting with people. I’m happily satisfied with having just a couple of close friends that make me feel like myself when I’m around them.

When I was in high school, my homeroom teacher selects a word for everyone, a word that he thought to represent the student’s traits the best. I got serenity, implying that “still water runs deep.” I was pleased with this explanation and also grateful to receive this beautiful expression to describe myself.

Sometimes I thought: I’m probably stuck in a rut. I can put the same song on replay for weeks, eat the same dish every day, and even do so for years without getting tired of it. I spend my leisure time on exhibitions, movies, books, music, or just wandering aimlessly, trying to zoom out completely, not being able to think outside the realm of art. Shopping and watching baby videos are probably the only two things that are closest to the general definition of “recreational activities,’   


寶稜:我其實在周圍很多人眼中滿容易被笑稱為邊緣人或是沒朋友的狀態,因為我不是非常熱衷於社交活動的個性, 一部分是滿看跟人的相處頻率跟氣,相處起來很自在的幾個人其實就夠了,另一部分是我很需要獨處。

我記得在高中的時候,班導師送給每個同學一個詞彙,一個他認為可以表現我們每個學生的特質的詞彙。而我拿到的是:寧靜 - 寧靜而致遠。我覺得我會記得那麼清楚是因為我很喜歡這樣的說法,也很感激原來我可以得到這樣的形容詞。

有時候我其實也會想:我好像是一個很無聊的人,我可以同一首歌輪播好幾週,可以同一個菜色每天都吃,持續吃好幾年也沒有膩,休閒娛樂可能就是單純的展覽、電影、文字、音樂,或是沒有目標的閒晃,嘗試著真的放空,好像也逃不太出藝術的範疇。最休閒娛樂的事可能就是逛街跟看寶寶影片而已。












Pao-Leng: I’m a graduate student living in a studio suite of a dorm in West London. While staying in my room, I’m always moving around the mini sofa, bed, or on the floor working on my piece.

Student dorms aren’t very spacious, and the colour scheme of their interior is mostly composed of lily-white, ivory grey, and light green. I like to put time and effort into decorating my living space. However, since this is a student dorm that I’m only temporarily staying in, there aren’t any unique displays, posters or sketches on the wall. The only thing left on the wall is the mark I made with the stick-tack adhesive for documentation of my works.

With that said, I still imagine the surroundings of the studio space where I can engage in my world.



寶稜:目前在倫敦讀研究所,住在靠倫敦西邊的一個學生公寓,studio的房型。我的活動範圍大概不是在小沙發,就是床,再來就是地上做作品。

學生公寓並不是非常寬敞,大致似乎是百合白、米灰搭配淺綠色的配色。 我很喜歡好好佈置自己生活的地方,但可能因為是學生公寓的關係,我知道我很快會離開現在的房間,所以沒有特別擺設或是貼什麼海報、草圖在牆上,唯一留在牆上的,大概就是我每次幫作品拍照時,黏在牆上的綠黏土痕跡。

但我隨時都在想像一個讓我安放自己的工作室的樣子。















Please tell us about your thoughts on the artist’s scarf collaboration with Almond Madagascar. 

Pao-Leng: The actual patterns and details are still worked in progress, but I would like to think of this collaboration as a planned creative practice, not just transferring my finished works onto another material as the container. Rather, it’s closer to the process of making block prints, creating multiples at a time.

Meanwhile, I’d like to focus on presenting a more fragmented, sketch-like form that distinguishes from the finished look I usually achieve in my works. 



這次和小葉合作的絲巾設計想法?

寶稜:雖然關於實際圖樣等等的還有點模糊。但我傾向把這次的合作想成是計畫型的創作,不是單純轉移自己現有的作品到不同的載體上而已,而是類似於創作版畫,複數性生產的狀態,用思考創作的那個方式來去想像這次的合作。

也想要呈現有別於平常創作的成品,而是比較片段式,素描感的樣貌。
















龔寶稜 Pao-Leng Kung
https://tin71949.wixsite.com/paolengkung
https://www.instagram.com/paolengkung_/


Born in Taoyuan in 1996, she is currently studying painting at the Royal College of Art. Many of her ideas come from the creative process. Also, tools that are used in the painting process or accidentally discovered by the studio become part of the work. Considering its functionality incompletely, it works and combines them to create a collage in real space like the existence of a painting object.
Pao-Leng said: "I have heard a word that painting is a process of constant regret. If that's true, I will enjoy that kind of regret; otherwise, I will not have the state of thinking burst out.

1996生於桃園,目前就讀於英國皇家藝術學院主修繪畫,創作時的許多想法都來自於創作過程,很多繪畫過程會經手的工具或是工作室偶然發現的物件時常會成為作品的一部分,不完全考慮其功能性,將其作品化並加以組合並置,在實際空間中交雜拼貼。像是一個有繪畫性的物件的存在。

寶稜說:『我聽過一種說法,說:繪畫就是不斷在遺憾的過程,這樣說的話,我蠻享受那種遺憾,不然就不會有那種思緒衝出來的狀態了。』




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