創作理念  Artist Statement

創作的方向和發想,主要是圍繞在生命議題和感情抒發上,在生命的循環裡有許多課題,透過創作尋找另一種可能的答案。透過拆解、拼貼、重組的方式,將人與自然、與動物、或自我與他人的關係,以圖像的方式轉譯,試圖從中尋求自身因應的態度。


The concept of my creation, is based on discussion of life and emotional expression. I believe there are lots of issues in a life cycle, I want to find another possible answer through creating. By dismantling, collaging and reorganizing icons that captures the relations of human and nature, human and animals, and self and other. Through this process, then I try to respond with my own stance and attitude.

 


2016 侵蝕的記憶 Rusty Memory

攝影紀錄了那些過去可能激昂、悲傷、日常的景象,那些當初都曾是一顆飽滿的氣球,被時間緩緩刺穿,漸漸萎靡,直到人們幾乎遺忘。

 

「侵蝕的記憶」是以家族相片為基礎,我劃去相片中每個人的面孔,讓每一個凝視作品的人都成為相片中的人,藉由相片甚至能夠抵達尚未有「我」所存在的時光平面,影像中的植物與血管不僅象徵了家族親緣,同時也是我試著去修補觀者的縫線,讓散落一地的過往重新組合成現有生命的血肉。影像的基底是鋁箔以及銀箔,銀白的金屬色澤具有一種時間的銳利感,在銀箔上的影像極容易因為氧化而改變色澤,鋁箔則不然,鋁箔上的影像是堅固不動的事實,是中性的記載,銀箔上的則是我們的記憶,會隨著時間產生變化,呈現出個人生活或記憶裡可能存在的畫面,藉由凝視這些影像,提煉出存放我們心底角落被遺忘的情感。

Photos record moments might be excited, sorrowful or normal. Each moment was once a full ballon, pricked by time slowly then collapsed until people forget.

“Rusty Memory” is based on family photos. I remove each one’s face in the photo, make each beholder become one of them. Ones can arrive the past when they didn’t exist. Plants and vein doesn’t only mean one’s relation with family, but the thread I try to sew the beholders’ past up, make one’s old time recombine into now. I chose aluminum and silver foil as media, metallic colour giving a feeling of time’s sharpness. Images on sliver foil could be oxidized easily, but aluminum could not. Images on aluminum foil are truth and on silver foil are memory we have that changes with time. Find out feelings in our mind deeply by staring at those image.

2016 月蝕 Eclipse


短暫的今生拼湊成無窮的輪迴。每一株花草都來自自我的凝視,像月球被侵蝕成一種不二形狀。


Life's not only a single experience but a cycle. Every plant comes from someone who gazing itself, like a moon eclipsed into a unique shape.

2016 屋頂上的植物學家 Botanist on the Roof

植物是從爸爸頂樓的花圃摘下,從花蕊到根鬚,植物的局部離開植株後會快速被時間浸黃,我記錄它們在這段時間中的變化。我試圖在這系列作品中去探討侵略者與被侵略者間的關係,將植物嫁接到人體上,為不對等的關係尋找一個互諒的可能。

The plants are collected from my father’s patterre on the roof. From bloom to root, each part of plant leaves itself will wither soon, I record their difference during this period of time. I try to discuss the relation between invaders and victims in this series. Look for a possibility of mutual understanding for a unfair relation by transplanting parts of plant on human body. 

2016 饗宴 Symposium

「饗宴」的發想來自柏拉圖的作品《饗宴》,最初的人是圓形的,有兩張一模一樣的臉孔、兩對的胳膊和腿,有男人與女人、女人與女人、男人與女人三種性別,人們對於自身感到相當滿意,當時眾神對人們感到懼怕,於是宙斯提議將人們一分為二,以為人們就會更加敬畏神,但人們被分開後思念自己的另一半,不斷地找尋對方,反而無暇祀奉神明。「...我們本來是完整的,而我們現在正在企盼和追隨這種原初的完整性,這就是所謂的愛情。...」(柏拉圖),「饗宴」是之前作品「腐朽花園」系列的延續,如果說「腐朽花園」是在等待中消逝的人們,那「饗宴」就是他們的復甦,他們的血肉與植物結合,他們的靈魂在輪迴中續存,繼續守盼另外一半。

The idea “Symposium” came from Plato’s《Symposium》, the original human was round,had two same faces on one head, four hands and four feet. There were three sexes in number, man, woman, and the union of man and woman. People were satisfied with themselves. At that time, gods fear human, therefore Zeus decided to cut them into two to make them more profitable for gods. But after people were divided, they desired their other half badly, looking for it instead of serving gods. “Human nature was originally one and we were a whole, and the desire and the pursuit of the whole is called love” (Plato). “Symposium” is a development from series of “Decadent Garden” which I made before, if series of “Decadent Garden” is about people fade away with waiting, then series of “Symposium” is their revival. Their body combines with plants, their soul immortal in Samsara and keep on waiting their other half.

2016 普魯斯特時光 Proust Moment

「唯一真實的樂園是人們失去的樂園」(安德烈·莫洛亞 André Maurois)

​對於「我們活在同一個世界中」這句話我始終存疑,在這「同一個世界」上,有的人終其一生沒有看過海、有的人是無神論者、有人吃芹菜有人厭惡、有的小孩躲避天上掉下的砲彈、有的小孩下課後吃著冰淇淋。普魯斯特相信真實並不等同現實,真正的世界該由各自的生命經驗與情感疊合組成,有多少生命就有多少世界,絕對的尺標並不存在。「普魯斯特時光」是一不連續且不完整的系列作品,它們互為平行宇宙,而之所以不完整是因為它必須藉由被解讀、被拆分且再被重建於個人的意識當中才能存在,也因為它的不完整性,觀者不再只能欣賞與見證,而能伸出造物的手,搭設出一個絕無僅有且無以名狀的真實世界。

“...the true paradises are the paradises we have lost.” (André Maurois)

I always wonder that “We all live in the same world” is true. In this “same world”, someone never has seen the sea, someone is atheist, someone eats celery and someone hates it, children somewhere have to avoid bombs over them, some just go eating ice cream after school. Proust believe truth is not synonymous with reality, a real world should be respective experiences and emotions integrated, as many real worlds as there are many people, there is not a very standard. “Proust Moment” is a series with discontinuation and incompleteness. They are parallel universes for each other.“Proust Moment” exists only as been explained, separated and reestablished in one’s consciousness. The beholders can not only witness but create a world which is unique and fantastic owing to its incompleteness. 

2017 星象 Constellations

獵戶、飛鷹、仙女、船隻、毒蠍。 宇宙是紙頁,星球是散落的字,被虛線連成神話與指南。 我則用實線梭縫,投影駐紮於過往的生靈,召喚它們在紙上夜巡,或許似曾相似、或許擦肩而過,我沿路撿拾記憶的碎片,若有似無的拼湊新的章節。

我依序運用了轉印、縫線、水墨等複合媒材,完成一件作品,而在最後的水墨階段時,我視作品為版畫的印版,進行單版印製,由於水墨濃厚之故,這樣的印製只能有一次機會,印製後的版畫與作品兩者都是創作的結果,而版畫卻又更近似於初初作品進行轉印時的模樣,彷彿在作品與版畫之間存在著輪迴。

 

Orion, Aquila, Andromeda, Carina, and Scorpio; the universe is a piece of paper, and the planets are scattered words, connected with dotted lines into myths and guides. I, using solid lines, stitch up and project the past creatures, to summon them on a piece of paper for the night watch. With a deja vu and familiar feeling, I pick up pieces of memories along the way to put together a new chapter in an equivocal way.

 

I used mixed media that included transfer printing, stitch, and ink materials in turn to complete the work. While processing the final stage of ink material, I took the work as a plate and interpreted it by single wooden plate block pressing. The ink was thick, so I had only one chance to print. Both the block print and the work are a creation, but the block print resembles more the original work in the transfer printing stage. There seemed to be some form of endless cyclelike transmigration between the work and the block print.

2017 不存在的幽靈 Fictional Spirit

 

我們一直都在各自的心智中經驗這個世界。 我們不能看見事物的本質,我們也無法擁有同樣的記憶。情感的左右、生理支配,再再決定著我們當下如何形塑世界。 畫布的基底是被刷染墨汁的箔,而我把影像轉印在畫布的背面,同時從背面開始縫紉輪廓,於是畫布的正面布滿虛線,像是一棟無中生有的廢墟在黑暗中搖晃,然後我再以清水沿著虛線洗刷,考古似地讓這棟廢墟更加鮮明,水則沿著針孔滲入背面,原先的影像因而暈開、甚至消失。

 

我個人視這一系列的作品為雕塑甚於平面繪畫,畫布的正面與背面都是完整作品的一部分,卻不能同時被看見,而不論是正或反面、都是藉由另一面以盲目的方式間接完成,縫紉當下,我不能掌控虛線的形狀,在洗刷虛線的過程,我也無法預測背面影像最後的模樣,這樣的不可預測性,反而讓作品從我的經驗世界中被釋放,當觀者沿著作品的兩面來回觀看與認知的同時,作品則能自然而然地在意識當中形成立體結構,並獲得充分的個人詮釋空間。

 

We all have been experiencing this world with our own mind. We can neither see the nature of things nor have the same memory. Emotional and physiological state   determines how we shape the world in each moment again and again. The base of the fabric is foils painted with ink; I transferred the image onto the back of the fabric, and started with the stitches on the back for outlines. This made the front side of the fabric covered with dotted lines, like an old building that was made out of nothing and tumbling down in the dark. And then I, like an archaeologist, brushed along the dotted lines with branch water to make the old building more distinct. The water penetrated into the back through the pinholes, thus making the original image blurred, even disappear.

 

I personally consider this series of work more of sculptures than graphic paintings. Both the front and back of the fabric are a part of this whole work, yet they cannot be seen at the same time. Front side or back side, they require each other's existence to be completed indirectly in a blind way. When I was stitching, I could not control the shape of the dotted lines. In the process of brushing the lines, I couldn't predict the final look of the image on the back. This unpredictable situation unexpectedly released me from my experience in the world to create. When the viewers look at and perceive both sides of the work back and forth, they are able to naturally form a three-dimensional structure of the work in consciousness with sufficient room for personal interpretation.

 

2018 暗湧 Undertow

我總認為「成人」的過程其實就是一道道擠壓的工序,盡量削去不被允許的面向,盡可能成為一個合宜的人。在身體與意識底下,被擠壓的自我有一部分成為岩石,有的部分則成為了湧流,竄洩而出,原本被壓抑的部分,在形變與自我辯證中成為與世界的橋樑,成了自由的詮釋。

展示的作品多與欲望有關,當欲望被視作禁條,欲望並不會被封印或消失,而是在日復一日的加壓與抵擋下變成礦石而曖曖生輝,最後化成暗湧伺機而出。

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