ART STATEMENT

創作理念

我的創作靈感來自路上被路殺的動物，並且對於屍體腐壞的過程很感興趣，一開始只是被其外在特質吸引。具有腐壞性的對象物，會隨著時間改變形象、質地、無時無刻都在發⽣生變化。腐敗乍聽之下有時效性，但在此刻卻是不受時間限制而緩慢的存在。沈重的屍體最後竟然只留下⼀灘漬痕，彷彿⼀縷煙輕巧地離開了。我對這樣的矛盾的狀態感到著迷，並且在轉化為作品的過程中得到一種快感，悲傷卻又感到滿足。我刻意用所謂⼯藝的語⾔（刺繡、貼布）解構後重新詮釋、轉譯，以各種不同形式呈現那些大眾認為醜惡的、不堪的事物。使觀眾不得不和創作者⼀起慢慢遊歷作品中的細節，注視著那些平常不敢凝視的陰暗角落。

生活中難免有些壓迫，而這些挫折迫使人們面對恐懼或思考問題的所在，甚至是直面不可凝視的心理狀態。我的作品經常放大擷取動物屍體的局部畫面，在閱讀作品時會無法避免的直視。我喜歡觀察人們閱讀我的作品時的反應，血跡斑斑、扭曲變形甚至帶有腐臭的屍體被五彩繡線、柔軟的布料重新拆解、拼貼，將死亡帶入作品，同時也帶來創造。既是生也是死、是美也是醜，不斷製造矛盾是做作品有趣的地方。

人們懼怕死亡，卻也習慣性地忽略死亡。現代的觀看經驗裡有將使之恐慌、驚恐的事物打上馬賽克的習慣，特別是帶有血腥暴力意味的影像。媒體會罩上一層濾鏡，把畫面變成撲朔迷離地曖昧狀態好讓大眾可以放心觀看。在焦點模糊的瞬間想像力傾瀉而出，具體或抽象的色彩注滿一格格空間，變成觀者腦中的形狀。我的作品就是將那些被視為骯髒、噁心、不堪入目，讓人害怕、卻又隨時在發生的事物轉譯為創作，刻意將維護道德的馬賽克抽離，取而代之的是五彩繽紛的線材與不同密度的布料，形成另一種觀看的安全距離。讓觀者接觸到作品時第一時間感受到的不會是暴力影像的衝擊，而是先被層層柔軟布料緩衝後所產生的矛盾。觀眾需要花時間去解讀、辨認圖像的訊息，進而達到我想要讓大眾放慢腳步凝視死亡的效果。

時代的速度太快了，我們有多久沒有好好地專注在一件事情上，即使那本身不具有任何利益關係？大眾總是容易將焦點放在事物的表面，只做看得見的累積，對於目標趨之若鶩，放任光線照顧不到的角落雜草叢生。媒體的利刃將生活切得瑣碎，蒙太奇的切換跳躍讓思考暈頭轉向，紛亂的雜訊堵滿空間的縫隙。人們對於過飽和的世界早已習慣，當周遭空無一物的時候反而開始躁動不安，像是抽光了缸裡所有的水，只能不斷地彈跳掙扎著。被時間追趕而急急忙忙，匆促的下每個決定，還沒來得及後悔就得跳上下一班列車。直至面對死亡的時候，會不會依舊像快溺死的金魚顯得既徬徨又無力？

我喜歡全心全意地只投入在一件作品上。想像它看起來，是飽滿或是乾扁；想像它摸起來，是濕潤或是粗糙；想像它聞起來，是芳香或是惡臭。將注意力對焦在某件事物上的時候，周圍的時間彷彿靜止般凝結，所有感官被放大，安靜得好像能聽穿心臟的跳動聲。當我注視馬路上的動物屍體，熙來攘往的車輛都漸退到思緒的後面，我蹲下來分析祂破碎的骨骼，細數黏稠的毛髮，時間被延展的好慢好慢，不可思議的白色空間只容得下自己。創作是一把鑰匙，我抓握被放大的時間感，試圖找回快時代沖刷下被媒體剝奪的感官。

文字/侯冠廷

My creative inspiration comes from animals killed on the road and my fascination with the process of their decomposition. Initially, I was drawn to their external qualities. Objects with decay have a constant transformation in appearance and texture over time. Decay may seem temporal, but in the moment, it exists without time constraints, slowly evolving. The weighty remains eventually reduce to mere stains, as if smoke effortlessly dissipates. I am captivated by this contradictory state and find a sense of pleasure in transforming it into artwork, feeling both sadness and satisfaction.

I deliberately deconstruct and reinterpret craft techniques (embroidery, patchwork) to present what is commonly deemed repulsive or undesirable in various forms, forcing the audience to slowly explore the details alongside the creator, confronting the dark corners they usually avoid.

Life inevitably brings oppression, and these challenges compel people to confront fear or ponder issues, even facing psychological states they dare not examine. My work often magnifies and extracts partial views of animal carcasses, which readers cannot avoid confronting when viewing the work. I enjoy observing people's reactions to my pieces, where bloodstained, contorted, or even putrid bodies are dismantled, reassembled, and embellished with colorful threads and soft fabrics, bringing death into the artwork while also creating.

Both life and death, beauty and ugliness, continuously creating contradictions make artwork intriguing. People fear death but habitually ignore it. Modern viewing experiences often censor potentially panic-inducing or gruesome imagery with mosaics, especially those with bloody or violent connotations. My art translates these fearful yet ever-present elements into artistic creations, intentionally stripping away the moralistic mosaic to create a safe viewing distance using colorful threads and varying fabric densities.

When viewers interact with the artwork, they first experience the contradiction cushioned by layers of soft fabric rather than the shock of violent imagery. Viewers need time to interpret and discern the image's messages, achieving the effect of slowing down to contemplate death that I aim for.

The pace of the era is too fast. How long has it been since we've focused on something solely for its intrinsic value? People tend to focus on surface-level aspects, accumulating what's visible while neglecting neglected corners. Media fragments life, making it hard to concentrate, and the chaotic noise fills every gap. People are accustomed to oversaturation, feeling restless when surrounded by emptiness, like a fish out of water, constantly struggling. Rushing to keep up with time, making decisions hastily, boarding the next train before regret sets in. Will we still appear as helpless as a goldfish gasping for air when faced with death?

I enjoy wholeheartedly investing myself in a single piece. Imagining how it looks, feels, or smells—full or flat, wet or rough, fragrant or foul. Focusing attention on one thing seems to freeze time, amplifying all senses, so quiet it feels like one can hear the heartbeat. When I gaze at the animal carcasses on the road, the bustling vehicles fade into the background, and I analyze their broken bones and matted fur, time stretching unbelievably slow, leaving onlymyself in a wondrous white space. Creation is a key; grasp the magnified sense of time, attempting to reclaim the sensory experiences lost to the fast-paced era and media saturation.

text by HOU, GUAN-TING