胶囊｜张丰渊参加 Para Site 2025年度慈善拍卖

张丰渊（出生于中国，常驻纽约）将纺织视为一种观念系统，通过这一系统思考秩序与失序、放纵与克制。对她而言，纺织既是方法，也是隐喻。在这过程中，结构与脆弱、精确与偶然被编织在一起。织机成为一个实验场，规则在此被不断测试，让控制随时可能崩塌。

张丰渊的艺术实践始于对材料潜能的探索，她从手工针织转向纺织，以经纬线重构图像。她的早期作品常以单色背景为底，灵感来自亲身旅行经验，以及现代建筑与风景的视觉语言，探讨记忆与感知如何被转译为织物的形式。

随后，她引入了结构化的图案，如条纹、方格、网格，作为图像展开的背景框架。这些图案取材于日常生活中的纺织纹样，暗示那些历来被归类为女性化或装饰性的材料。通过这种视觉秩序的系统，张丰渊不仅在探索形式语言，同时也在质疑材料与工具在社会建构中的角色，即织造、纹样与重复如何体现既有的规训与文化塑形。

这一探索逐渐发展为 “偶然”系列的作品，在创作流程固有的随机性生成了多层次的变化。以《气泡（随机）》为例，艺术家将气泡的图案数字叠加在粉黄条纹背景上，将其织成后拍摄，将照片切割为纸条，再将纸条随机重新排列拼贴，最终织就新的画面。每一步都重塑了图像与其内在逻辑，使结构与偶然得以并存。转译、分解与重构的过程本身成为作品的核心，凸显图像在不同控制与变化系统中的演变。

张丰渊的雕塑作品则将上述探索延伸至三维空间。作品以织物、陶瓷与拾得材料翻模铸造和组合而成，其重复与层叠的内在逻辑与纺织相互呼应，将柔性的系统转译为坚实的结构。无论在二维还是三维的创作中，她都将“形式”视为结构与崩解交汇的场域。

正如评论人Jenny Wu在《Artforum》中写道，张丰渊的创作是“一场从内部瓦解结构的冥想”，展现了一种在系统缓慢解体过程中寻求自由的实践。张丰渊目前的研究将纺织的逻辑延展到织机之外，投入更广泛的探寻：在创造、感知与放任之中，材料、戒律与偶然如何得以共存。

张丰渊曾在胶囊（中国上海）、CLEARING（纽约／洛杉矶）、Mendes Wood DM（巴西圣保罗、比利时布鲁塞尔）、Halsey McKay（美国纽约）以及Candice Madey（美国纽约）等地举办个展，也曾在MASSIMODECARLO（伦敦）、Clearing Gallery （美国纽约、洛杉矶）以及和Chambers Fine Art（美国纽约）等参与群展。

Miranda Fengyuan Zhang (b. China; lives and works in New York) approaches weaving as a conceptual system through which to think about order and disorder, restraint and surrender. For Zhang, weaving is both method and metaphor: a process that binds together structure and fragility, precision and chance. The loom becomes a site where rules are tested and control gives way to the possibility of collapse.

Zhang began her practice through an exploration of material possibilities, moving from hand-knitted forms to weaving as a way to reconstruct images through thread. Her early weavings, often set against monotone grounds, drew from personal travels and the visual language of modern architecture and landscape, examining how memory and perception could be translated into woven form.

She later introduced structured patterns—stripes, checks, and grids—as fixed frameworks within which images unfold. Drawing from domestic textile motifs, these patterns reference everyday materials historically coded as feminine or decorative. Through them, Zhang explores systems of visual order while questioning the material and the tool themselves as social constructs—how acts of weaving, patterning, and repetition embody both discipline and cultural conditioning.

This inquiry evolved into what Zhang calls chance pieces, where procedural rules generate layered transformations. In Bubble (Chance), for instance, a woven field of pink and yellow stripes was digitally overlaid with a drawing of a bubble, re-woven, photographed, dissected into paper strips, rearranged by chance, and finally rewoven as collage. Each stage reconfigures the image and its logic, allowing structure and accident to coexist. The process itself—of translation, fragmentation, and reconstruction—becomes the work’s central subject, tracing how images move through different systems of control and change.

Zhang’s sculptural works extend these investigations into spatial form. Cast or assembled from textile, clay, and found materials, they echo the logic of weaving through repetition and layering, translating soft systems into solid structures. In both two and three dimensions, she treats form as a site where structure meets collapse.

Writing in Artforum, Jenny Wu described her work as “a meditation on structure undone from within,” revealing a practice that finds freedom through the slow unraveling of systems. Zhang’s ongoing research extends weaving’s logic beyond the loom—toward a broader inquiry into how material, discipline, and chance can coexist within acts of making, perception, and surrender.

Zhang has had solo shows at Capsule (Shanghai); CLEARING (New York / Los Angeles); Mendes Wood DM (S?o Paulo; Brussels); Halsey McKay Gallery (New York); and Candice Mandy Gallery (New York). Other exhibitions include: MASSIMODECARLO (London); Clearing (New York; Los Angeles) and Chambers Fine Art Gallery (New York).