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“Leipop”− 雷悌專訪
Leipop 雷氏普普
雷悌的創作風格靈感啟發於街頭塗鴉藝術家班克西（Banksy）及安迪沃荷（Andy Warhol）、福田繁雄等藝術家，但使用更具有文化傳承意涵的“爆竹鞭炮”為創作媒材，利用鞭炮爆破瞬間所留下的烙痕作為創作方式，在紙張與畫布上執行爆破繪畫創作；創作風格看似傳統，亦有當代普普藝術思維，呈現新一代的中華文化並融合了當代普普藝術的精神。雷悌稱自己的創作語言稱作“Leipop”（雷氏普普），以入世的精神觀察當今時事，以現代人的不同視野重新展現當代文化的新樣貌。近年來他常常關注大眾議題，以客觀的角度深入觀察，藉創作行為記錄當下時代的紛爭，做為社會觀察的記錄。
進入爆破藝術世界
Ｑ：我們都知道您是國內爆破藝術的先軀，您可不可以跟我們談談您是怎麼走上這條路的呢?
有什麼特別的原因讓您下定決心踏入藝術圈的呢?
Ａ：
不敢當，不敢說我自己是先驅。爆破藝術在國外已行之多年，國際上有不少以此作為媒材的偉大藝術家，雖說在台灣少見以此作為創作媒材，但我不敢稱自己為先驅。
原本只是好玩，2011年我首次看到民間祭拜施放鞭炮的痕跡，發現烙痕如此特別美麗，便著手開始實驗研究以此做為繪畫的可能，經過多次的實驗發現了許多不同的技法，玩著玩著便欲罷不能，因此就這樣一直畫了下去。作品漸漸越來越多，在妻子的鼓勵下舉辦了第一次的個展發表。一路走來跌跌撞撞也得到了很多貴人的賞識與幫助，展覽陸陸續續不斷邀約，不知不覺一路走來就做了八年。
Ｑ：在素材方面，您覺得在您的創作過程裡面是可以歸類在多媒材?
還是您認為用鞭炮來創作應該是自成一格? 我們很多人都對這個創作方式很好奇，還請您說明一下?
Ａ：
近年來創作媒材不斷創新，如果要歸類繪畫媒材我個人認為是越來越困難，也覺得沒有必要性。如果單純以鞭炮火藥與紙張的關係來說，我個人認為比較類似是素描類，但卻也不同。
爆破繪畫的基本原理，是透過燃燒火藥鞭炮的瞬間的高溫與煙霧所留下的痕跡，燃燒的熱會將紙張燒出深淺不同的炭化痕跡，煙霧也會因為鞭炮的成分不同燃燒出不同的煙霧附著。（火藥並非單一元素，火藥主要是以硫磺、碳、硝酸鉀依照不同用途不同比例而調製；鞭炮主要成分則是火藥，現今鞭炮煙火種類越來越多，也增加了許多不同的化學原料配方）
*創作示範影片：https://www.youtube.com/watch?v=Uw3XsrQmWfk
如何保存 ?
Ｑ：在您創作的過程中，您覺得那一段是您最難控制的部分?
另外也有人說用鞭炮創作的藝術作品難以長久保存 （例如褪色的問題），您對此有何看法?
Ａ：
如先前提到的，火藥是依照不同比例混合的混合物，依照不同的比例會有不同的燃燒效果，也會因為天氣、風向、濕度有所不同，因此我想爆破最難控制的是爆炸的不規則性。
我想不管是哪一種創作媒材都會有損壞、褪色情形發生，我覺得時間的痕跡也是藝術的一部分（古老的油畫看起來特別有味道）。爆破繪畫的組成主要是燃燒殘留附著在紙張的碳與煙硝痕跡，不同溫度有不同碳化的筆觸，這樣的關係有點似炭筆素描與紙張的關係，保存上除了要使用無酸紙防止它褪色之外，基本上只要噴上素描保護膠即可。
（剛完成的作品有兩到三個月的不穩定期，三個月後即可穩定，層次也更漂亮）
Ｑ：您覺得在國內的藝術領域以內? 如何來推廣爆破藝術?
在國外的作法與國內有何不同呢? 您可以舉例說明嗎?
Ａ：
雖然推廣並不是我個人專注的項目，但我覺得在台灣就欣賞層面來說大家普遍都能夠接受，只是在收藏方面就讓大眾有點止步，目前只有少數較有遠見的藏家敢收我的作品。就我所知國外藏家對於藝術收藏比較開明，物以稀為貴越是前衛越是不同的作品越是敢收藏（爆破作品在國際上也行之有年）
未來計畫 & 國際交流
Ｑ：您在未來的3-5年計劃中，有沒有什麼您覺得要特別去推廣爆破藝術的計劃?
您在國內外有沒有特別的合作對象 ? 是不是可以幫我們介紹一下呢?
Ａ：
我個人對於並沒有特別專注於推廣，我的心思大多在於創作本身。目前展覽都是受到展覽空間邀約展出，
並沒有長期的展覽經紀合約，一路走來一直在尋找適合幫我國內外推廣的夥伴，好讓我專心創作。
Ｑ：您覺得將來爆破藝術是否可以與數位化來做相關的鏈接? 或者是用什麼方法來突破現在的爆破藝術的創作方式?
Ａ：
個人並沒有對數位或是其他媒材使用有所自我限制，但是在數位印刷、數位影像呈現上個人還是覺得是冰冷的，我個人還是喜歡看得到摸的到能真實感受的畫作，但是並不否定跨界合作的可能性。因為台灣法令的關係對於火藥有所限制，個人目前使用的是現成爆竹而得來，其次欠缺一個安全開放不干擾民眾的爆破空間能穩定長時間使用。
Ｑ：您有計劃跟兩岸的爆破藝術家做交流嗎? 甚至於是國外的知名爆破藝術家?
Ａ：
據我個人所知兩岸專注在爆破的藝術家除了蔡國強大師外，就是小弟我自己了（或許有更多以此創作的藝術家只是我不知道），如果有機會個人非常願意與蔡老師親自請益，請他也看看我的作品。我目前有幾個美國爆破藝術家臉友，分別是David Sena, Robert A. Weibel, Drew Lausman。我個人也非常歡迎喜愛爆破創作的朋友來跟我交流，聊作品。
以上訪談內容經過藝術家本人提供及同意刊登在LIVART的粉絲專頁，如需轉載請註明出處。
“Leipop” – Lei Ti interview
Leipop
Lei Ti’s creative style is inspired by the street graffiti artists Banksy and Andy Warhol, Fukuda Toshio and other artists, but the use of “firecrackers” with more cultural heritage. Using the mark left by the firecracker blasting as the creative method, the blasting painting is performed on the paper and the canvas; the creative style seems to be traditional, and there is also contemporary Pop Art thinking, presenting a new generation of Chinese culture and integrating contemporary pops. The spirit of art. Lei Ti said that his own language of creation is called “Leipop”. He observes the current affairs in the spirit of joining the WTO and re-exhibits the new look of contemporary culture with different perspectives of modern people. In recent years, he has often paid attention to public issues, and has conducted in-depth observations from an objective perspective. He has used the creative behavior to record the current disputes of the times as a record of social observation.
Enter the world of blasting art
Q:We all know that you are the forerunner of domestic blasting art. Can you tell us how you got on this road? Is there any special reason for you to make up your mind to enter the art world?
A:
I don’t dare to say it. I dare not say that I am a pioneer. The art of blasting has been going abroad for many years. There are many great artists in the world who use this as a medium. Although it is rare in Taiwan to use this as a medium of creation, I dare not call myself a pioneer.
Originally it was just fun. In 2011, I saw the traces of firecrackers fired for the first time in the folks. I found that the mark was so beautiful, I started to experiment and study it as a possibility of painting. After many experiments, I discovered many different techniques. I can’t stop playing with it, so I have been painting it all the time. The work is gradually getting more and more, and the first solo exhibition was held under the encouragement of his wife. Along the way, I stumbled and got a lot of appreciation and help from the nobles. The exhibition continued to be invited, and I did not know how to do it for eight years.
Q:In terms of material, do you think it can be classified as multi-media in your creative process? Or do you think that using firecrackers to create should be self-contained? Many of us are very curious about this way of creation. Please explain it?
A:
In recent years, the creation of media has been constantly innovating. If I want to categorize painting media, I personally think it is more and more difficult and I feel that it is not necessary. If I simply use the relationship between firecracker and paper, I personally think it is similar to the sketch class, but it is different.
The basic principle of blasting painting is the trace of high temperature and smoke left by burning gunpowder firecrackers. The burning heat will burn the paper to different depths of carbonization. The smoke will also burn different smokes due to the different components of the firecrackers. Attached. (The gunpowder is not a single element. The gunpowder is mainly prepared with different proportions of sulfur, carbon and potassium nitrate according to different uses; the main component of the firecracker is gunpowder. Nowadays, there are more and more firecrackers and fireworks, and many different chemical raw materials are added.)
* Create a demonstration video: https://www.youtube.com/watch?v=Uw3XsrQmWfk
How to preserve
Q:In the process of your creation, what do you think is the most difficult part of your control? Others say that art works created with firecrackers are difficult to preserve for a long time (such as fading problems). What do you think of this?
A:
As mentioned earlier, gunpowder is a mixture of different proportions. It will have different combustion effects according to different proportions. It will also be different because of weather, wind direction and humidity. Therefore, the most difficult thing to control is the explosion. Irregularity.
I don’t think any kind of creative medium will be damaged or faded. I think the trace of time is also part of art (the ancient oil painting looks particularly tasteful). The composition of the blasting painting is mainly the burning residue attached to the carbon and smoke traces of the paper, and the different temperatures have different carbonized strokes. This relationship is somewhat like the relationship between the charcoal sketch and the paper. In addition to using acid-free paper to prevent it from fading. In addition, basically just spray a sketch of protective glue.
(The finished work has an unstable period of two to three months, and it can be stabilized after three months, and the level is more beautiful)
Q:Do you think it is within the domestic art field? How to promote the art of blasting? How is the practice in foreign countries different from that in China? Can you give an example?
A:
Although promotion is not a project I personally focus on, I think that in Taiwan, everyone can accept it in terms of appreciation. It only makes the public stop at the collection. At present, only a few farsighted collectors dare to accept me. s work. As far as I know, foreign collectors are more open to art collections, and the more expensive the more avant-garde, the more different works are more dare to collect (the blasting works are also internationally available)
Future plans & international communication
Q:In the next 3-5 years plan, do you have any plans to promote the art of blasting in particular? Do you have any special partners at home and abroad? Can you help us introduce it?
A:
I personally don’t have a special focus on promotion. Most of my thoughts are on creation itself. At present, the exhibitions are all invited by the exhibition space, and there is no long-term exhibition brokerage contract. We have been looking for partners who are suitable for promotion at home and abroad, so that I can concentrate on creating.
Q:Do you think that the art of blasting in the future can be related to digitalization? Or what method is used to break through the current way of creating explosive art?
A:
Personally, there is no self-restriction on the use of digital or other media, but in the digital printing and digital image presentation, the individual still feels cold. I personally still like to see the paintings that can be truly felt, but Does not deny the possibility of cross-border cooperation. Because the relationship between the Taiwanese decree has restrictions on gunpowder, individuals are currently using ready-made firecrackers, and secondly, there is a lack of safe and open blasting space that does not interfere with the people and can be used for a long time.
Q:Do you have plans to communicate with the blasting artists on both sides of the strait? Even famous blasting artists from abroad?
A:
As far as I know, the artists who focus on blasting on both sides of the strait are the younger brothers except Cai Guoqiang. (Maybe there are more artists who create this, I don’t know). If there is a chance, the individual is very willing to personally invite with Teacher Cai. Benefit, please also look at my work. I currently have several American blast artists face friends, namely David Sena, Robert A. Weibel, and Drew Lausman. I personally welcome friends who love blasting to communicate with me and talk about works.
The content of the above interviews was provided by the artist himself and agreed to be posted on the fan page of LIVART. If you need to reprint, please indicate the source.
“Leipop”− 雷悌專訪
Leipop 雷氏普普
雷悌的創作風格靈感啟發於街頭塗鴉藝術家班克西（Banksy）及安迪沃荷（Andy Warhol）、福田繁雄等藝術家，但使用更具有文化傳承意涵的“爆竹鞭炮”為創作媒材，利用鞭炮爆破瞬間所留下的烙痕作為創作方式，在紙張與畫布上執行爆破繪畫創作；創作風格看似傳統，亦有當代普普藝術思維，呈現新一代的中華文化並融合了當代普普藝術的精神。雷悌稱自己的創作語言稱作“Leipop”（雷氏普普），以入世的精神觀察當今時事，以現代人的不同視野重新展現當代文化的新樣貌。近年來他常常關注大眾議題，以客觀的角度深入觀察，藉創作行為記錄當下時代的紛爭，做為社會觀察的記錄。
進入爆破藝術世界
Ｑ：我們都知道您是國內爆破藝術的先軀，您可不可以跟我們談談您是怎麼走上這條路的呢? 有什麼特別的原因讓您下定決心踏入藝術圈的呢?
Ａ：
不敢當，不敢說我自己是先驅。爆破藝術在國外已行之多年，國際上有不少以此作為媒材的偉大藝術家，雖說在台灣少見以此作為創作媒材，但我不敢稱自己為先驅。
原本只是好玩，2011年我首次看到民間祭拜施放鞭炮的痕跡，發現烙痕如此特別美麗，便著手開始實驗研究以此做為繪畫的可能，經過多次的實驗發現了許多不同的技法，玩著玩著便欲罷不能，因此就這樣一直畫了下去。作品漸漸越來越多，在妻子的鼓勵下舉辦了第一次的個展發表。一路走來跌跌撞撞也得到了很多貴人的賞識與幫助，展覽陸陸續續不斷邀約，不知不覺一路走來就做了八年。
Ｑ：在素材方面，您覺得在您的創作過程裡面是可以歸類在多媒材?
還是您認為用鞭炮來創作應該是自成一格? 我們很多人都對這個創作方式很好奇，還請您說明一下?
Ａ：
近年來創作媒材不斷創新，如果要歸類繪畫媒材我個人認為是越來越困難，也覺得沒有必要性。如果單純以鞭炮火藥與紙張的關係來說，我個人認為比較類似是素描類，但卻也不同。
爆破繪畫的基本原理，是透過燃燒火藥鞭炮的瞬間的高溫與煙霧所留下的痕跡，燃燒的熱會將紙張燒出深淺不同的炭化痕跡，煙霧也會因為鞭炮的成分不同燃燒出不同的煙霧附著。（火藥並非單一元素，火藥主要是以硫磺、碳、硝酸鉀依照不同用途不同比例而調製；鞭炮主要成分則是火藥，現今鞭炮煙火種類越來越多，也增加了許多不同的化學原料配方）
*創作示範影片：https://www.youtube.com/watch?v=Uw3XsrQmWfk
如何保存 ?
Ｑ：在您創作的過程中，您覺得那一段是您最難控制的部分?
另外也有人說用鞭炮創作的藝術作品難以長久保存 （例如褪色的問題），您對此有何看法?
Ａ：
如先前提到的，火藥是依照不同比例混合的混合物，依照不同的比例會有不同的燃燒效果，也會因為天氣、風向、濕度有所不同，因此我想爆破最難控制的是爆炸的不規則性。
我想不管是哪一種創作媒材都會有損壞、褪色情形發生，我覺得時間的痕跡也是藝術的一部分（古老的油畫看起來特別有味道）。爆破繪畫的組成主要是燃燒殘留附著在紙張的碳與煙硝痕跡，不同溫度有不同碳化的筆觸，這樣的關係有點似炭筆素描與紙張的關係，保存上除了要使用無酸紙防止它褪色之外，基本上只要噴上素描保護膠即可。
（剛完成的作品有兩到三個月的不穩定期，三個月後即可穩定，層次也更漂亮）
Ｑ：您覺得在國內的藝術領域以內? 如何來推廣爆破藝術?
在國外的作法與國內有何不同呢? 您可以舉例說明嗎?
Ａ：
雖然推廣並不是我個人專注的項目，但我覺得在台灣就欣賞層面來說大家普遍都能夠接受，只是在收藏方面就讓大眾有點止步，目前只有少數較有遠見的藏家敢收我的作品。就我所知國外藏家對於藝術收藏比較開明，物以稀為貴越是前衛越是不同的作品越是敢收藏（爆破作品在國際上也行之有年）
未來計畫 & 國際交流
Ｑ：您在未來的3-5年計劃中，有沒有什麼您覺得要特別去推廣爆破藝術的計劃? 您在國內外有沒有特別的合作對象 ? 是不是可以幫我們介紹一下呢?
Ａ：
我個人對於並沒有特別專注於推廣，我的心思大多在於創作本身。目前展覽都是受到展覽空間邀約展出，
並沒有長期的展覽經紀合約，一路走來一直在尋找適合幫我國內外推廣的夥伴，好讓我專心創作。
Ｑ：您覺得將來爆破藝術是否可以與數位化來做相關的鏈接? 或者是用什麼方法來突破現在的爆破藝術的創作方式?
Ａ：
個人並沒有對數位或是其他媒材使用有所自我限制，但是在數位印刷、數位影像呈現上個人還是覺得是冰冷的，我個人還是喜歡看得到摸的到能真實感受的畫作，但是並不否定跨界合作的可能性。因為台灣法令的關係對於火藥有所限制，個人目前使用的是現成爆竹而得來，其次欠缺一個安全開放不干擾民眾的爆破空間能穩定長時間使用。
Ｑ：您有計劃跟兩岸的爆破藝術家做交流嗎? 甚至於是國外的知名爆破藝術家?
Ａ：
據我個人所知兩岸專注在爆破的藝術家除了蔡國強大師外，就是小弟我自己了（或許有更多以此創作的藝術家只是我不知道），如果有機會個人非常願意與蔡老師親自請益，請他也看看我的作品。我目前有幾個美國爆破藝術家臉友，分別是David Sena, Robert A. Weibel, Drew Lausman。我個人也非常歡迎喜愛爆破創作的朋友來跟我交流，聊作品。
以上訪談內容經過藝術家本人提供及同意刊登在LIVART的粉絲專頁，如需轉載請註明出處。
“Leipop” – Lei Ti interview
Leipop
Lei Ti’s creative style is inspired by the street graffiti artists Banksy and Andy Warhol, Fukuda Toshio and other artists, but the use of “firecrackers” with more cultural heritage. Using the mark left by the firecracker blasting as the creative method, the blasting painting is performed on the paper and the canvas; the creative style seems to be traditional, and there is also contemporary Pop Art thinking, presenting a new generation of Chinese culture and integrating contemporary pops. The spirit of art. Lei Ti said that his own language of creation is called “Leipop”. He observes the current affairs in the spirit of joining the WTO and re-exhibits the new look of contemporary culture with different perspectives of modern people. In recent years, he has often paid attention to public issues, and has conducted in-depth observations from an objective perspective. He has used the creative behavior to record the current disputes of the times as a record of social observation.
Enter the world of blasting art
Q:We all know that you are the forerunner of domestic blasting art. Can you tell us how you got on this road? Is there any special reason for you to make up your mind to enter the art world?
A:
I don’t dare to say it. I dare not say that I am a pioneer. The art of blasting has been going abroad for many years. There are many great artists in the world who use this as a medium. Although it is rare in Taiwan to use this as a medium of creation, I dare not call myself a pioneer.
Originally it was just fun. In 2011, I saw the traces of firecrackers fired for the first time in the folks. I found that the mark was so beautiful, I started to experiment and study it as a possibility of painting. After many experiments, I discovered many different techniques. I can’t stop playing with it, so I have been painting it all the time. The work is gradually getting more and more, and the first solo exhibition was held under the encouragement of his wife. Along the way, I stumbled and got a lot of appreciation and help from the nobles. The exhibition continued to be invited, and I did not know how to do it for eight years.
Q:In terms of material, do you think it can be classified as multi-media in your creative process? Or do you think that using firecrackers to create should be self-contained? Many of us are very curious about this way of creation. Please explain it?
A:
In recent years, the creation of media has been constantly innovating. If I want to categorize painting media, I personally think it is more and more difficult and I feel that it is not necessary. If I simply use the relationship between firecracker and paper, I personally think it is similar to the sketch class, but it is different.
The basic principle of blasting painting is the trace of high temperature and smoke left by burning gunpowder firecrackers. The burning heat will burn the paper to different depths of carbonization. The smoke will also burn different smokes due to the different components of the firecrackers. Attached. (The gunpowder is not a single element. The gunpowder is mainly prepared with different proportions of sulfur, carbon and potassium nitrate according to different uses; the main component of the firecracker is gunpowder. Nowadays, there are more and more firecrackers and fireworks, and many different chemical raw materials are added.)
* Create a demonstration video: https://www.youtube.com/watch?v=Uw3XsrQmWfk
How to preserve
Q:In the process of your creation, what do you think is the most difficult part of your control? Others say that art works created with firecrackers are difficult to preserve for a long time (such as fading problems). What do you think of this?
A:
As mentioned earlier, gunpowder is a mixture of different proportions. It will have different combustion effects according to different proportions. It will also be different because of weather, wind direction and humidity. Therefore, the most difficult thing to control is the explosion. Irregularity.
I don’t think any kind of creative medium will be damaged or faded. I think the trace of time is also part of art (the ancient oil painting looks particularly tasteful). The composition of the blasting painting is mainly the burning residue attached to the carbon and smoke traces of the paper, and the different temperatures have different carbonized strokes. This relationship is somewhat like the relationship between the charcoal sketch and the paper. In addition to using acid-free paper to prevent it from fading. In addition, basically just spray a sketch of protective glue.
(The finished work has an unstable period of two to three months, and it can be stabilized after three months, and the level is more beautiful)
Q:Do you think it is within the domestic art field? How to promote the art of blasting? How is the practice in foreign countries different from that in China? Can you give an example?
A:
Although promotion is not a project I personally focus on, I think that in Taiwan, everyone can accept it in terms of appreciation. It only makes the public stop at the collection. At present, only a few farsighted collectors dare to accept me. s work. As far as I know, foreign collectors are more open to art collections, and the more expensive the more avant-garde, the more different works are more dare to collect (the blasting works are also internationally available)
Future plans & international communication
Q:In the next 3-5 years plan, do you have any plans to promote the art of blasting in particular? Do you have any special partners at home and abroad? Can you help us introduce it?
A:
I personally don’t have a special focus on promotion. Most of my thoughts are on creation itself. At present, the exhibitions are all invited by the exhibition space, and there is no long-term exhibition brokerage contract. We have been looking for partners who are suitable for promotion at home and abroad, so that I can concentrate on creating.
Q:Do you think that the art of blasting in the future can be related to digitalization? Or what method is used to break through the current way of creating explosive art?
A:
Personally, there is no self-restriction on the use of digital or other media, but in the digital printing and digital image presentation, the individual still feels cold. I personally still like to see the paintings that can be truly felt, but Does not deny the possibility of cross-border cooperation. Because the relationship between the Taiwanese decree has restrictions on gunpowder, individuals are currently using ready-made firecrackers, and secondly, there is a lack of safe and open blasting space that does not interfere with the people and can be used for a long time.
Q:Do you have plans to communicate with the blasting artists on both sides of the strait? Even famous blasting artists from abroad?
A:
As far as I know, the artists who focus on blasting on both sides of the strait are the younger brothers except Cai Guoqiang. (Maybe there are more artists who create this, I don’t know). If there is a chance, the individual is very willing to personally invite with Teacher Cai. Benefit, please also look at my work. I currently have several American blast artists face friends, namely David Sena, Robert A. Weibel, and Drew Lausman. I personally welcome friends who love blasting to communicate with me and talk about works.
The content of the above interviews was provided by the artist himself and agreed to be posted on the fan page of LIVART. If you need to reprint, please indicate the source.
“Leipop”− 雷悌專訪
Leipop 雷氏普普
雷悌的創作風格靈感啟發於街頭塗鴉藝術家班克西（Banksy）及安迪沃荷（Andy Warhol）、福田繁雄等藝術家，但使用更具有文化傳承意涵的“爆竹鞭炮”為創作媒材，利用鞭炮爆破瞬間所留下的烙痕作為創作方式，在紙張與畫布上執行爆破繪畫創作；創作風格看似傳統，亦有當代普普藝術思維，呈現新一代的中華文化並融合了當代普普藝術的精神。雷悌稱自己的創作語言稱作“Leipop”（雷氏普普），以入世的精神觀察當今時事，以現代人的不同視野重新展現當代文化的新樣貌。近年來他常常關注大眾議題，以客觀的角度深入觀察，藉創作行為記錄當下時代的紛爭，做為社會觀察的記錄。
進入爆破藝術世界
Ｑ：我們都知道您是國內爆破藝術的先軀，您可不可以跟我們談談您是怎麼走上這條路的呢? 有什麼特別的原因讓您下定決心踏入藝術圈的呢?
Ａ：
不敢當，不敢說我自己是先驅。爆破藝術在國外已行之多年，國際上有不少以此作為媒材的偉大藝術家，雖說在台灣少見以此作為創作媒材，但我不敢稱自己為先驅。
原本只是好玩，2011年我首次看到民間祭拜施放鞭炮的痕跡，發現烙痕如此特別美麗，便著手開始實驗研究以此做為繪畫的可能，經過多次的實驗發現了許多不同的技法，玩著玩著便欲罷不能，因此就這樣一直畫了下去。作品漸漸越來越多，在妻子的鼓勵下舉辦了第一次的個展發表。一路走來跌跌撞撞也得到了很多貴人的賞識與幫助，展覽陸陸續續不斷邀約，不知不覺一路走來就做了八年。
Ｑ：在素材方面，您覺得在您的創作過程裡面是可以歸類在多媒材? 還是您認為用鞭炮來創作應該是自成一格? 我們很多人都對這個創作方式很好奇，還請您說明一下?
Ａ：
近年來創作媒材不斷創新，如果要歸類繪畫媒材我個人認為是越來越困難，也覺得沒有必要性。如果單純以鞭炮火藥與紙張的關係來說，我個人認為比較類似是素描類，但卻也不同。
爆破繪畫的基本原理，是透過燃燒火藥鞭炮的瞬間的高溫與煙霧所留下的痕跡，燃燒的熱會將紙張燒出深淺不同的炭化痕跡，煙霧也會因為鞭炮的成分不同燃燒出不同的煙霧附著。（火藥並非單一元素，火藥主要是以硫磺、碳、硝酸鉀依照不同用途不同比例而調製；鞭炮主要成分則是火藥，現今鞭炮煙火種類越來越多，也增加了許多不同的化學原料配方）
*創作示範影片：https://www.youtube.com/watch?v=Uw3XsrQmWfk
如何保存 ?
Ｑ：在您創作的過程中，您覺得那一段是您最難控制的部分?
另外也有人說用鞭炮創作的藝術作品難以長久保存 （例如褪色的問題），您對此有何看法?
Ａ：
如先前提到的，火藥是依照不同比例混合的混合物，依照不同的比例會有不同的燃燒效果，也會因為天氣、風向、濕度有所不同，因此我想爆破最難控制的是爆炸的不規則性。
我想不管是哪一種創作媒材都會有損壞、褪色情形發生，我覺得時間的痕跡也是藝術的一部分（古老的油畫看起來特別有味道）。爆破繪畫的組成主要是燃燒殘留附著在紙張的碳與煙硝痕跡，不同溫度有不同碳化的筆觸，這樣的關係有點似炭筆素描與紙張的關係，保存上除了要使用無酸紙防止它褪色之外，基本上只要噴上素描保護膠即可。
（剛完成的作品有兩到三個月的不穩定期，三個月後即可穩定，層次也更漂亮）
Ｑ：您覺得在國內的藝術領域以內? 如何來推廣爆破藝術? 在國外的作法與國內有何不同呢? 您可以舉例說明嗎?
Ａ：
雖然推廣並不是我個人專注的項目，但我覺得在台灣就欣賞層面來說大家普遍都能夠接受，只是在收藏方面就讓大眾有點止步，目前只有少數較有遠見的藏家敢收我的作品。就我所知國外藏家對於藝術收藏比較開明，物以稀為貴越是前衛越是不同的作品越是敢收藏（爆破作品在國際上也行之有年）
未來計畫 & 國際交流
Ｑ：您在未來的3-5年計劃中，有沒有什麼您覺得要特別去推廣爆破藝術的計劃? 您在國內外有沒有特別的合作對象 ? 是不是可以幫我們介紹一下呢?
Ａ：
我個人對於並沒有特別專注於推廣，我的心思大多在於創作本身。目前展覽都是受到展覽空間邀約展出，並沒有長期的展覽經紀合約，一路走來一直在尋找適合幫我國內外推廣的夥伴，好讓我專心創作。
Ｑ：您覺得將來爆破藝術是否可以與數位化來做相關的鏈接? 或者是用什麼方法來突破現在的爆破藝術的創作方式?
Ａ：
個人並沒有對數位或是其他媒材使用有所自我限制，但是在數位印刷、數位影像呈現上個人還是覺得是冰冷的，我個人還是喜歡看得到摸的到能真實感受的畫作，但是並不否定跨界合作的可能性。因為台灣法令的關係對於火藥有所限制，個人目前使用的是現成爆竹而得來，其次欠缺一個安全開放不干擾民眾的爆破空間能穩定長時間使用。
Ｑ：您有計劃跟兩岸的爆破藝術家做交流嗎? 甚至於是國外的知名爆破藝術家?
Ａ：
據我個人所知兩岸專注在爆破的藝術家除了蔡國強大師外，就是小弟我自己了（或許有更多以此創作的藝術家只是我不知道），如果有機會個人非常願意與蔡老師親自請益，請他也看看我的作品。我目前有幾個美國爆破藝術家臉友，分別是David Sena, Robert A. Weibel, Drew Lausman。我個人也非常歡迎喜愛爆破創作的朋友來跟我交流，聊作品。
以上訪談內容經過藝術家本人提供及同意刊登在LIVART的粉絲專頁，如需轉載請註明出處。
“Leipop” – Lei Ti interview
Leipop
Lei Ti’s creative style is inspired by the street graffiti artists Banksy and Andy Warhol, Fukuda Toshio and other artists, but the use of “firecrackers” with more cultural heritage. Using the mark left by the firecracker blasting as the creative method, the blasting painting is performed on the paper and the canvas; the creative style seems to be traditional, and there is also contemporary Pop Art thinking, presenting a new generation of Chinese culture and integrating contemporary pops. The spirit of art. Lei Ti said that his own language of creation is called “Leipop”. He observes the current affairs in the spirit of joining the WTO and re-exhibits the new look of contemporary culture with different perspectives of modern people. In recent years, he has often paid attention to public issues, and has conducted in-depth observations from an objective perspective. He has used the creative behavior to record the current disputes of the times as a record of social observation.
Enter the world of blasting art
Q:We all know that you are the forerunner of domestic blasting art. Can you tell us how you got on this road? Is there any special reason for you to make up your mind to enter the art world?
A:
I don’t dare to say it. I dare not say that I am a pioneer. The art of blasting has been going abroad for many years. There are many great artists in the world who use this as a medium. Although it is rare in Taiwan to use this as a medium of creation, I dare not call myself a pioneer.
Originally it was just fun. In 2011, I saw the traces of firecrackers fired for the first time in the folks. I found that the mark was so beautiful, I started to experiment and study it as a possibility of painting. After many experiments, I discovered many different techniques. I can’t stop playing with it, so I have been painting it all the time. The work is gradually getting more and more, and the first solo exhibition was held under the encouragement of his wife. Along the way, I stumbled and got a lot of appreciation and help from the nobles. The exhibition continued to be invited, and I did not know how to do it for eight years.
Q:In terms of material, do you think it can be classified as multi-media in your creative process? Or do you think that using firecrackers to create should be self-contained? Many of us are very curious about this way of creation. Please explain it?
A:
In recent years, the creation of media has been constantly innovating. If I want to categorize painting media, I personally think it is more and more difficult and I feel that it is not necessary. If I simply use the relationship between firecracker and paper, I personally think it is similar to the sketch class, but it is different.
The basic principle of blasting painting is the trace of high temperature and smoke left by burning gunpowder firecrackers. The burning heat will burn the paper to different depths of carbonization. The smoke will also burn different smokes due to the different components of the firecrackers. Attached. (The gunpowder is not a single element. The gunpowder is mainly prepared with different proportions of sulfur, carbon and potassium nitrate according to different uses; the main component of the firecracker is gunpowder. Nowadays, there are more and more firecrackers and fireworks, and many different chemical raw materials are added.)
* Create a demonstration video: https://www.youtube.com/watch?v=Uw3XsrQmWfk
How to preserve
Q:In the process of your creation, what do you think is the most difficult part of your control? Others say that art works created with firecrackers are difficult to preserve for a long time (such as fading problems). What do you think of this?
A:
As mentioned earlier, gunpowder is a mixture of different proportions. It will have different combustion effects according to different proportions. It will also be different because of weather, wind direction and humidity. Therefore, the most difficult thing to control is the explosion. Irregularity.
I don’t think any kind of creative medium will be damaged or faded. I think the trace of time is also part of art (the ancient oil painting looks particularly tasteful). The composition of the blasting painting is mainly the burning residue attached to the carbon and smoke traces of the paper, and the different temperatures have different carbonized strokes. This relationship is somewhat like the relationship between the charcoal sketch and the paper. In addition to using acid-free paper to prevent it from fading. In addition, basically just spray a sketch of protective glue.
(The finished work has an unstable period of two to three months, and it can be stabilized after three months, and the level is more beautiful)
Q:Do you think it is within the domestic art field? How to promote the art of blasting? How is the practice in foreign countries different from that in China? Can you give an example?
A:
Although promotion is not a project I personally focus on, I think that in Taiwan, everyone can accept it in terms of appreciation. It only makes the public stop at the collection. At present, only a few farsighted collectors dare to accept me. s work. As far as I know, foreign collectors are more open to art collections, and the more expensive the more avant-garde, the more different works are more dare to collect (the blasting works are also internationally available)
Future plans & international communication
Q:In the next 3-5 years plan, do you have any plans to promote the art of blasting in particular? Do you have any special partners at home and abroad? Can you help us introduce it?
A:
I personally don’t have a special focus on promotion. Most of my thoughts are on creation itself. At present, the exhibitions are all invited by the exhibition space, and there is no long-term exhibition brokerage contract. We have been looking for partners who are suitable for promotion at home and abroad, so that I can concentrate on creating.
Q:Do you think that the art of blasting in the future can be related to digitalization? Or what method is used to break through the current way of creating explosive art?
A:
Personally, there is no self-restriction on the use of digital or other media, but in the digital printing and digital image presentation, the individual still feels cold. I personally still like to see the paintings that can be truly felt, but Does not deny the possibility of cross-border cooperation. Because the relationship between the Taiwanese decree has restrictions on gunpowder, individuals are currently using ready-made firecrackers, and secondly, there is a lack of safe and open blasting space that does not interfere with the people and can be used for a long time.
Q:Do you have plans to communicate with the blasting artists on both sides of the strait? Even famous blasting artists from abroad?
A:
As far as I know, the artists who focus on blasting on both sides of the strait are the younger brothers except Cai Guoqiang. (Maybe there are more artists who create this, I don’t know). If there is a chance, the individual is very willing to personally invite with Teacher Cai. Benefit, please also look at my work. I currently have several American blast artists face friends, namely David Sena, Robert A. Weibel, and Drew Lausman. I personally welcome friends who love blasting to communicate with me and talk about works.
The content of the above interviews was provided by the artist himself and agreed to be posted on the fan page of LIVART. If you need to reprint, please indicate the source.
