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.
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 旅人Wanderer
旅行可以是點和點的移動,也可以是平面與平面之間的切換。作品”旅人”是複製與再現往日的時光,物件以金箔之身顯現於深墨畫紙,宛如英靈一般,讓以前發生過的事成為故事而不淹沒,”旅人”同時是向每個自我致敬,是那些我一個個重疊至此,才有著不假思索的今天。
“Wanderer” is copying and reappearing of the past time. Objects are reproduced on dark ink canvas with gold foil, turns them into Einherjar. It makes the past become story not just sunk. Also, “Wanderer” salutes to every self, those selves in past time make self now.
“Wanderer” is copying and reappearing of the past time. Objects are reproduced on dark ink canvas with gold foil, turns them into Einherjar. It makes the past become story not just sunk. Also, “Wanderer” salutes to every self, those selves in past time make self now.
2016 侵蝕的記憶-家 Rusty Memory-Home
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 aluminium and silver foil as media,metallic colour giving a feeling of time’s sharpness.Images on sliver foil could be oxidized easily,but aluminium could not.Images on aluminium 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
「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 aluminium and silver foil as media,metallic colour giving a feeling of time’s sharpness.Images on sliver foil could be oxidized easily,but aluminium could not.Images on aluminium 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 玫瑰少年 Ma vie en rose
每每想起葉永鋕、葉永鋕媽媽,我始終不能克制自己的悲傷。
他的生活是什麼樣的呢,是不是無時無刻都像有一把看不見的刀劃著他,劃傷他的心靈、劃傷他的生活、最後劃去了他的存在。葉永鋕的媽媽呢,經歷了突如其來的崩塌,她仍站起身、挺直腰桿,替每一個玫瑰少年發聲。 她說:「我希望他的死能救很多人,他的走才有意義。」 她說:「我救不了我的小孩,我要救跟他一樣的小孩。」 她選擇另一種方式繼續愛葉永鋕,她選擇把玫瑰花冠戴到每個與眾不同的孩子身上,告訴他們,你們都值得被愛。
I can’t stop grieving every time I think of Ye Yong-Zhi and his mother.
What was his life like, cut by a veiled knife, cut his soul, cut his everyday, and at last, his life. Ye Yong-Zhi’s mom chose to stand up for anyone like his son. She said “ I hope his death can save many people, then his death would be meaningful.”, “ I can’t save my child, I will save all the children like him”. She chose another way to keep loving Ye Yong-Zhi, she put wreath of rose on every unique child, and told them all of you is worthy of being loved.
他的生活是什麼樣的呢,是不是無時無刻都像有一把看不見的刀劃著他,劃傷他的心靈、劃傷他的生活、最後劃去了他的存在。葉永鋕的媽媽呢,經歷了突如其來的崩塌,她仍站起身、挺直腰桿,替每一個玫瑰少年發聲。 她說:「我希望他的死能救很多人,他的走才有意義。」 她說:「我救不了我的小孩,我要救跟他一樣的小孩。」 她選擇另一種方式繼續愛葉永鋕,她選擇把玫瑰花冠戴到每個與眾不同的孩子身上,告訴他們,你們都值得被愛。
I can’t stop grieving every time I think of Ye Yong-Zhi and his mother.
What was his life like, cut by a veiled knife, cut his soul, cut his everyday, and at last, his life. Ye Yong-Zhi’s mom chose to stand up for anyone like his son. She said “ I hope his death can save many people, then his death would be meaningful.”, “ I can’t save my child, I will save all the children like him”. She chose another way to keep loving Ye Yong-Zhi, she put wreath of rose on every unique child, and told them all of you is worthy of being loved.
2016 普魯斯特時光 Proust moment
「唯一真實的樂園是人們失去的樂園」(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.
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.
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.
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.
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外一半,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 devided,they desired their other half badly,looking for it instead of serving gods.「Hunan 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.
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 devided,they desired their other half badly,looking for it instead of serving gods.「Hunan 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 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 aluminium and silver foil as media,metallic colour giving a feeling of time’s sharpness.Images on sliver foil could be oxidized easily,but aluminium could not.Images on aluminium 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 images.
「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 aluminium and silver foil as media,metallic colour giving a feeling of time’s sharpness.Images on sliver foil could be oxidized easily,but aluminium could not.Images on aluminium 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 images.
2015 橋仔頭糖廠藝術村進駐 Kio-A-Thau Sugar Refinery Artist Village
煉金‧甘蔗與萊姆酒 Alchemy-Sugar & Rum
封埋絮語
取自糖廠的植物落葉,我將金箔貼於其上,除了彰顯它們的精神性,也試著賦予它們另一層意義。好比我們,每個來到世界上的人都很獨特,各自有各自的經歷,但我們卻又都是那麼平凡,最後都要回歸寂無,如同我這系列的作品,讓枯黃的葉子負載著金箔,象徵了生與死的一體兩面。
Sealed Whisper
I layered gold leaf on the fallen leaves taken from the Ciaotou Sugar Refinery community. Apart from manifesting the leaves’ spirituality, I also attempt to give it another layer of meaning. Like human, we come to this world unique, and have different life stories, yet we are also so ordinary and will go back to the realm of nothing in the end. This series of artwork in which withered leaves carry the burden of gold leaf symbolizes life and death as one from two ways of perspective.
2015 (未命名)風景 (Untitled)Scenery
(未命名)風景
糖廠的樹木見證當地的變遷,物是人非,仍繼續矗立,靜靜守望,我拍攝糖廠的樹木後,把它們噴墨、手繪在鋁箔上,留下如幽靈般的殘像,樹木會緩慢的在時光平面上移動,我們在任何時候看見的樹木,都宛如靜物一般,而那些看不見的枝枒則繼續生長,長往那些終將逝去的未來。以箔來做表現,是因為箔這樣的材質有它獨特的精神性,當以影像和繪畫作呈現時,會顯露出神聖與永恆的性質,因為箔在光線的照射下,會反射周遭的環境,隱約映照出現實空間,卻又截然不同,宛如另一個世界。
(Untitled)Scenery
The trees in Ciaotou Sugar Refinery are the witnesses to the change of the land. The landscape and people have changed but trees continue to stand, watching and protecting. I took photos of them, printed and painted them on the aluminium foils, leaving a specter-haunted after image where the trees will gradually and slowly move on the surface of time. Though trees may look still when we see them, yet lives invisible are actually sprouting and growing directing to the future, by which we will pass after all. The reason why I choose foil to present it is that as a material, foil has the unique spirituality. When combined with image and painting, foil displays the quality of sacredness and eternity when it reflects the surrounding environment, and mirrors the real space ambiguously, yet still like a completely different world.
糖廠的樹木見證當地的變遷,物是人非,仍繼續矗立,靜靜守望,我拍攝糖廠的樹木後,把它們噴墨、手繪在鋁箔上,留下如幽靈般的殘像,樹木會緩慢的在時光平面上移動,我們在任何時候看見的樹木,都宛如靜物一般,而那些看不見的枝枒則繼續生長,長往那些終將逝去的未來。以箔來做表現,是因為箔這樣的材質有它獨特的精神性,當以影像和繪畫作呈現時,會顯露出神聖與永恆的性質,因為箔在光線的照射下,會反射周遭的環境,隱約映照出現實空間,卻又截然不同,宛如另一個世界。
(Untitled)Scenery
The trees in Ciaotou Sugar Refinery are the witnesses to the change of the land. The landscape and people have changed but trees continue to stand, watching and protecting. I took photos of them, printed and painted them on the aluminium foils, leaving a specter-haunted after image where the trees will gradually and slowly move on the surface of time. Though trees may look still when we see them, yet lives invisible are actually sprouting and growing directing to the future, by which we will pass after all. The reason why I choose foil to present it is that as a material, foil has the unique spirituality. When combined with image and painting, foil displays the quality of sacredness and eternity when it reflects the surrounding environment, and mirrors the real space ambiguously, yet still like a completely different world.
2014-2015 相遇時刻 The Moments
我喜歡藉由動物去對應人類的生活,例如鴿子的習性,比擬人的約束與自由,一部分的牠們被訓練眷養成賽鴿,但同時也有自由的鴿子在廣場聚集,華麗的背景,其實都是解剖的器具,重新解構拼湊成舞台,在看是美好的風景其實是藏著殘酷的。內在也許依然帶著孩童的幻想,一種逃逸現實的烏托邦延伸,在死亡符號拼貼建立另一個世界。藉由樂園和島嶼的故事,將鴿子比擬人類,如同人的生活方式,因為牠們被眷養但也擁有自由的生命價值,想像並對應真實的世界。
Maybe there is still some fantasy like children inside me, an extension of Utopia to escape from reality. Building another world via collaging symbols of death. And I compared pigeon to human, way of human life, from story of paraside and island. Pigeons are fed, but they also have life value of freedom, I imagine that and correspond it to the real world I live.
Maybe there is still some fantasy like children inside me, an extension of Utopia to escape from reality. Building another world via collaging symbols of death. And I compared pigeon to human, way of human life, from story of paraside and island. Pigeons are fed, but they also have life value of freedom, I imagine that and correspond it to the real world I live.
2015 旅跡 Travel
旅跡系列是利用類似圖鑑的方式,對應蝴蝶與地圖的關係。人類生命短暫如同蝴蝶轉瞬即逝,也許我們應該更在乎自己所經驗的,而非庸碌的尋找一個理想中的花園。
Travel series as an illustration of recording the relation between butterflies and their habitat.Life is short for butterfly,and so for human.We should mind what we experience more,not try hard to find an ideal garden.
Travel series as an illustration of recording the relation between butterflies and their habitat.Life is short for butterfly,and so for human.We should mind what we experience more,not try hard to find an ideal garden.
2015 花草偈 The Flower Sutras
花草偈是由多變的花草組成的經文,藉由自己創作的經文與紋飾,追憶緬懷已逝的親人。傳統喪禮上的禮俗,對我來說只是儀式與過程,依然留下許多悲傷和不捨。藉由具有食用藥草的古書籍,重新解構拼貼花草圖樣,重新審視生命的姿態,在過程裡選擇屬於自己的方式紀念他們。(2014-2015陸續製作三位親人的經文)
The Flower Sutras is scripture composed of varying combinations of flowers and plants. This scripture and patterns created by me are intended as memorials for my deceased family members. To me, traditional memorial services are just rituals and proceeding, with tremendous sadness still lingering and hard to let go of afterwards. Referencing an ancient book about herbal medicines, I began deconstructing and collaging patterns with flowers and plants, with life reevaluated during the process, as unique ways to memorialize those family members are selected during this process.(Scriptures have been created for three family members in 2014 to 2015.)
The Flower Sutras is scripture composed of varying combinations of flowers and plants. This scripture and patterns created by me are intended as memorials for my deceased family members. To me, traditional memorial services are just rituals and proceeding, with tremendous sadness still lingering and hard to let go of afterwards. Referencing an ancient book about herbal medicines, I began deconstructing and collaging patterns with flowers and plants, with life reevaluated during the process, as unique ways to memorialize those family members are selected during this process.(Scriptures have been created for three family members in 2014 to 2015.)