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潘怡安
Pan I-An
潘怡安，北漂高雄人，作品關注日常中的不可見，尤其著眼於社會環境與現代城市居民的情感、記憶、行為之間的關係。
PAN I-AN is an artist from Kaohsiung currently based in Taipei. Her practice focuses on the invisible aspects of everyday life, particularly the relationships between social environments and the emotions, memories, and behaviors of people living in contemporary cities.
▎作品簡介
《日復一日，離開與留下之間
Day After Day, Between Leaving and Remaining》
水在空間中反覆出現與消失，在模糊的交界間留下白色痕跡。這些日常中細微的沉積，承載著更長時間尺度下的地質記憶，使得未曾真正離開的過去，在日復一日的生活中持續參與和顯現。
Water repeatedly appears and disappears within the space, leaving white traces along a blurred threshold.
These subtle deposits of everyday life carry geological memories formed over longer timescales, allowing a past that has never truly departed to continue emerging and participating in the present, day after day.
攝影｜彼岸無限有限公司
二輪現場 𝐒𝐞𝐜𝐨𝐧𝐝-𝐫𝐮𝐧 𝐋𝐢𝐯𝐞
第二場：Every Cloud has a sliver lining 背光
時長：5小時
：
第一輪《Every Cloud has a sliver lining背光 》是於2023年澳洲柏斯駐留住所的個人房間中發生，我把自己房間的地面完整地舖了一張巨型黑色塑膠布，我會先以眼睛及腦袋創作空間心像，然後，選其中一處地面，以塗改液畫出烏雲，再把烏雲剪裁出來，在空間中併回心像。
現在第二輪的現場於正白空間發生，心像必然有所變化，嘗試把剪裁剩餘的布碎去建構沒有實體的烏雲，以負空間去保留觀眾想像烏雲形象的自由度。
行為的尾聲因着確切的地理時限（尾班車）需要把創作的速度加快，需於1小時後完成及記錄好，開始思考第一輪行為創作時有什麼元素是可以刪減，減少累贅，所以直接用剪刀去剪裁出烏雲的形狀代替用塗改液畫出烏雲，以刀作筆。
現在才剛剛做完第二輪已經非常期待第三輪《背光》的變化了。
The first round of “Every Cloud has a Sliver Lining” took place in 2023 in the private room of my residency in Perth, Australia. I completely covered the floor of my room with a giant sheet of black plastic. I first created spatial imagery in my mind and with my eyes, then selected a spot on the floor to draw a cloud using correction fluid. I cut out the cloud and placed it back into the imagined space.
The second round now takes place in @ffffff_blank a pure white space , where the mental imagery inevitably changes. I tried to use the leftover fragments from cutting the clouds to construct intangible clouds, using negative space to preserve the audience’s freedom to imagine their own cloud shapes.
As the performance neared its end, the strict geographic time limit (the last train) forced me to accelerate the creative process, completing and documenting everything within an hour. I began to reflect on which elements from the first round could be removed to reduce excess. Instead of drawing clouds with correction fluid, I directly cut out cloud shapes with scissors—using the blade as my pen.
Having just completed the second round, I am already eagerly anticipating the transformation of the third round of “Every Cloud has a Sliver Lining”.
Photo by @kobekobekobeko 💭.｡:･*ﾟ|ω`)
二輪現場 𝐒𝐞𝐜𝐨𝐧𝐝-𝐫𝐮𝐧 𝐋𝐢𝐯𝐞
第一場：吹泡泡
時長：3小時45分鐘
：
做泡泡會讓人一直一直地想繼續做一個再下一個的泡泡，失敗的比起成型的多。
在這場遊戲中，失敗成為了做下一個泡泡的推動力。
泡泡的吸引在於他承載着空氣地飄浮，同時在一𣊬間就會「卟」的消失。
大人喜愛讓他停留，奢望泡泡不要破，小朋友則追著篤爆他。
在印尼做首輪《吹泡泡》時，是緣於「🙏🏻」這手勢。把感謝以自己身體的空間及一口氣來傳遞給當地的朋友🫧
在構思這場二輪泡泡時，打算engage觀眾參與創作。但閱讀了正白空間後，認為不engage製造一種邊界是件好事。最終在現場也是把泡泡帶到空間外給觀眾感受吹泡泡做泡泡的快樂。最啓發我的是發現小朋友愛攪拌，什麼也喜歡攪拌在一起，「攪拌」這個行為亦能帶給人滿足感。於是在行為的後半部份，我就帶著新啓發回到場內，「攪拌」與「泡泡」結合，拉闊泡泡的可能性，並與空間互動，在玻璃上做越抹越「污糟」的創作，在玻璃上的泡泡一來會流下二來也會自然靜靜地消失與蒸發，感覺很像雲，會走會消失也會再現。
最後我把剩餘地泡泡水也攪拌成泡泡雲，pack在包裹紙箱中。
Blowing bubbles compels you to keep making one after another, with failures far outnumbering successes.
In this game, failure becomes the driving force behind creating the next bubble.
The allure of bubbles lies in their ability to float while holding air, only to vanish with a "pop" in an instant.
Adults cherish its fleeting presence, wishing it would stay, while children chase it, eager to pop it.
The first iteration of "Blowing Bubbles" in Indonesia was inspired by the "🙏🏻" gesture. It conveyed gratitude to local friends using the space of one's own body and a single breath.
When conceptualizing this second iteration of bubbles, I intended to engage the audience in the creation. But after reading about the #FFFFFFF Space, I realized that not engaging—creating a boundary—could be beneficial. Ultimately, I brought the bubbles outside the space for the audience to experience the joy of blowing and making bubbles. What inspired me most was discovering that children love stirring—they love stirring everything together. The act of "stirring" itself brings a sense of satisfaction. Thus, in the latter part of the performance, I returned to the venue with this new insight. Combining "stirring" with "bubbles" expanded the possibilities of bubbles, allowing interaction with the space. I created increasingly "messy" works on the glass—bubbles that would either flow down or naturally fade and evaporate, reminiscent of clouds that drift, vanish, and reappear.
Finally, I stirred the remaining bubble solution into a bubble cloud and packed it inside a cardboard box.
Photo by @kobekobekobeko 💭.｡:･*ﾟ|ω`)
(15:00 𝐄𝐯𝐞𝐫𝐲 𝐜𝐥𝐨𝐮𝐝 𝐡𝐚𝐬 𝐚 𝐬𝐥𝐢𝐯𝐞𝐫 𝐥𝐢𝐧𝐢𝐧𝐠 )
