【 The VESSEL 】   2014 290×90×75cm  漂流木、紙、鋼絲、刺葉樹樹脂、墨水、金屬、鹽、五金製品   《The VESSEL》既是件雕刻作品，也是件樂器，你可以把它當成成一件等待發聲的沉默藝術品，或是做為音樂表演的器具。    齊特琴在南島及東亞隨處可見。《The VESSEL》的結構類似多種形式的傳統齊特琴，這是一個能激發想像、沉思及震動的器具、一種以水火留下的水圖騰。南島先民展開史詩旅程，遊遍廣袤太平洋，而這個作品的靈感便是就來自這段歷史。《The VESSEL》帶來視覺及聽覺饗宴，讓將現代觀眾暫時回到過去，召喚出看似真栩栩如生的現代，但其實那是個脫俗超凡的無形世界。   在我擔任駐村藝術家期間，我從阿美族、排灣族、泰雅族及卑南族等原住民文化所獲甚多，我也受到臺灣當地居民親切慷慨的款待，這些是我本次的最大收穫。諸如范志明、胡德夫、達卡鬧及瓦歷斯諾幹等藝術家非常大方地跟我分享他們的文化。我們曾經好幾個晚上一起高歌演奏，分享彼此的想法及哲理。雖然時間很短，我卻從他們身上學到許多。我想要特別感謝陳冠中、Lafin以及Talaluki對我的親切幫助。   希望在我離開許久之後，地方藝術家能造訪這座美術館，並以《The VESSEL》進行演奏。     【 The VESSEL 】   2014 290×90×75cm Driftwood, paper, wire, Xanthorreoa resin, ink, meatl, salt, hardware   The VESSEL is both a sculpture and a musical instrument that can be experienced as a silent artefact waiting to sound or as a vehicle for musical performance.   Similar in structure to the many forms of traditional zithers found throughout Austronesian and East Asia it is a vehicle for the imagination, contemplation and vibration. An aquatic totem marked by water and fire and inspired by the Austronesian history of epic voyages throughout the vast Pacific Ocean. Visually and aurally the VESSEL brings a little of the past into the present, evoking a world that seems real, present and contemporary yet somehow otherworldly and intangible.   The most rewarding aspect of my artist-in-residency has been learning about Amis, Paiwan, Atayal and Puyemu Aboriginal culture and receiving the kindness and generosity of the local Taiwanese. Artists such as Talaluki, Kimbo Hu Te Fu, Dakanow and Walis Nokan have been extremely generous in sharing their culture with me. We have spent many an evening together singing, playing music and sharing ideas and philosophies. In a short space of time I have learnt much from them. I would also especially like to thank Chen Kuanchung, Lafin and Talaluki for their kind assistance.   I hope that local artists will visit the museum and play music on the VESSEL long after my departure.

【 Den Pusu(太魯閣語意；根源)】 2014 1000×500×700cm 影像裝置   來自最初的神祖，從根源之樹來到人間，帶來與自然共存的生命，祝福和大地相繫的人們；一粒米煮一鍋飯的神話，仍然傳說著。而我的存在和叮嚀，卻如幻影般遙遠，少一點…少一點自大，你就能再次親近我，多一點…多一點虔敬，我就能重現那遠古的美麗世界。看見了嗎?那圍覆在虹彩光圈中的禮物，那閃爍在交織光影裡的凝視，那堆疊在殘破大鍋內的慾望 。 【 Den Pusu 】 2014 1000×500×700cm Image Apparatus From the original gods that came to the world of mortals through the root of the tree. They brought life that coexists with Nature and gave their blessing to humanity who is connected to the earth. The myth concerning a grain of rice that cooks into a pot is still a legend. Yet, my existence and warning like distant shadows, a little less… less arrogance and you will be again close to me, a little more…more devotion, then I can reproduce that beautiful world of ancient times. Do you see it? That gift inside the ring around the iris, that glittering gaze mingling with sunlight and shade or that desire piled up inside the huge broken pot.

【一個人 一個世界】   2014 600×300cm 壓克力顏料、畫布   一個人拖著一個世界…   走過山林   走過海洋   感受陽光溫度   閱讀人群文化的記憶   走著走著   發生在身上的世界   不斷的變化   一個由他經歷的.感受的.記憶的.想像的…所組成的世界。       【 One Person One World 】   2014 600×300cm Acrylic paint, canvas   One Person dragging one world…   Walking past the mountain forest   Walking past the ocean   Feeling the warmth of the sunlight   Reading memories from the culture of the crowd   Keep walking   The world that’s happening around us   Continues to change   Into a world combined by what he experienced, felt, recalled and imagined.

【織編著消逝的時空】   2014 350×350×350cm 黃藤、竹、藤皮、木、羊毛 妳我站在先行者踏過的地面   海面還漂流著剛發生的事件   我們面臨著相同的難題   如何開始？       他們下了決心   將回去的船拆散在岸邊   往未命名的山走去   在獸跡上踏出尋找水源的路徑       是哪個部落曾經因這片海灘的夜色如此明亮   決定停下遷徙的腳步，在此紮營過夜   是哪個人不再只是因為等候自漁獵返家的族人   徘徊海岸   是被吸引而來   因著那還未被分成海灘、海和天空的神祕   是迷惑而來   因著那還未被分成注視與被注視的眼神       那我呢？   看看四周低下頭看著緊貼腳掌的地面上的影子伸出赤裸的雙手   編著朝露沾溼的髮辮   織著航行前裝滿種子的家族陶壺   編著包覆著背上結痂的紋飾的樹皮   織著嬰兒吸吮乳汁時緊握的拳心   編著纏繞著插著石茅的獸骨的藤蔓   織著躍出漆黑海面的魚鰭上的星光   編著擺盪透明蛇鱗的竹片   織著巫的指示將咀嚼的葉片與小米揉成團丟向船首   編著鳥禽留下爪痕的樹枝織著隨著船槳沈落方向而湧出的汽泡       粒線體之舟在人類文化遷徙的夜航中織編著一段消逝的時空       【 Mitochondrial Eve 】   2014 350×350×350cm Yellow vine, bamboo, rattan peel, roots、wool   You and me standing on the ground steppedby the forerunners   The incident still drifts on the seasurface   We face the same dilemma   How to begin?       They made up their mind   Dismantle the returning ship over the shore   Walking towards the untitled mountain   Treading on the animal footprints, insearch for the path to the source of the river       What tribes once shined because of the dimlights of this beach at night   Decided to stop their migration and campedthere for the night   Who no longer lingers on the shores toawait for their clansman to return home from fish hunt   But came fascinated   By that mystery which has not yet dividedinto beach, sea and sky   Came puzzled   By the glance not yet divided into a gazeand being gazed upon       And me?   Looked around and bow down to see a shadowpress up against the feet on the ground then stretch both bare hands   Weaving the wet braid from the morning dew   Knitting the family pottery pot filled withseeds before the journey   Weaving the bark covered by the decorativepattern of the back scab   Knitting the tight fist of a baby suckingmilk   Weaving the vine tangled on the beast boneinserted with Sorghum halepense   Knitting the starlight from a fin leapingout of the dark sea surface   Weaving the bamboo sheet of a swayingtransparent snake scale   Knitting the shaman’s order of chewedleaves and rolled millet throwing to the ship’s bow   Knitting the gushing bubble in the sinkingdirection of the ship’s oar   Themitochondrial ark weaved the vanished time in the night flight of humanmigrations.

【不找】 2012-2014 1000×500×300cm 油彩，壓科力顏料，現成品   來到一個新的地方之前難免會為當地所將要見識到人事物所做點功課來做為心理準備，好為這些體驗變成感觸之間有個過渡。但是，做這功課的同時，旅人的視野也被帶上了有色的鏡片，以致影響所見所聞。 我因為對歷史和人類學的興趣和好奇所啟發的創作把我帶到了臺東。在這短暫的停留中我所帶得這些浪漫的文化和學術包袱也減了個令人滿意的重量。在肉眼慢慢甦醒後我得觀察也比較不受影響，看到得事物也較接近現實。滿自由得感覺，挺好。我在這裡創作正是我對這個過程主觀的記錄。   【 Not Looking 】 2012-2014 1000×500×300cm Oil on canvas, oil and acrylic on canvas,readymades   Before arriving at a new place, it isinevitable that the traveler does their “homework” to get prepared for theexperiences to come, also to provide a transitional framework for whenexperience becomes reflection. However, this preparatory work also puts onlenses that skew the traveler’s vision, and therefore, the whole experience. Myinterest and curiosity in history and anthropology inspired me to make the workthat brought me to Taitung. In the short time that I have been here, whateverromantic cultural and intellectual baggage that came along with me has droppedquite a satisfying amount. In turn, with a still awakening gaze I get to seethings more or less with unfiltered eyes, more or less on their own terms. Itis quite a liberating feeling. The work that I have created here is thesubjective account of this process.

【《群島：第四曲》–希巨蘇飛 (土、木、水、歌)】 2014 44分38秒 紀錄片／影片   沒有人是一座島，難道有人是嗎？ 本片背景就在臺灣美麗東海岸，當地叫作都蘭的原住民村莊。《群島》影片系列共有幾個主題：藝術、音樂及海洋。本系列專注介紹幾位特定人士，他們都是從海洋獲得靈感或是靠海維生。臺東縣常常為人所忽略，這個臺灣東海岸的都蘭小村莊更是渺小。為何擁有多元背景及國籍的藝術家、音樂家及船夫都被吸引至此？在一集影片中，或著應該說是「第一曲」 （《第一曲》-阿爾瓦羅托黑達），西班牙藝術家阿爾瓦羅將自己和他人形容成「群島中的一座座小島」，他運用詩歌、藝術及音樂作為創作媒材。我身為本片導演及剪輯，大大受到這個隱喻的啟發：個人是小島，群體是群島，而海洋則是兩者間的聯繫。我發現所有的人物（我則喜歡稱其為「小島」）都連結或仰賴當地的大自然，特別是當地的海洋。都蘭儼然就是迷人群體所構成的小宇宙，擁有來自世界各地的多元個體，大家共生共存，就像個小型社會。十分重要的是，他們所有人之間的聯繫就是海洋。當地有原住民、漢人及外國人，確實是座文化、語言、音樂及藝術的熔爐。  在續集（《群島：第二曲》- 〈衝浪及小提琴〉中的Randy Chang），影片焦點放在一位臺灣衝浪音樂人Randy Chang身上，他在臺東衝浪很長一段時間。Randy談到衝浪及小提琴在本質上是如何息息相關。  第三部展現詩人畫家喬爾喬爾的作品，他在多年前慕名而來，因為就如他本人所說，「思想的種籽在這裡會生長得更快」。我以喬爾喬爾的詩歌及藝術作品記錄他的藝術之旅，看他從泰國出發，來到他現在稱作家園的臺東。  第四部的主角是希巨蘇飛，本片是我在駐村一個月期間內拍攝，紀錄當地阿美族木雕傅及漁夫蘇飛的日常生活點滴。「地」對希巨來說代表島嶼，「水」代表河流及海洋，「木」代表平日生計、「歌」代表溝通交流。我記錄這四者間的關係，以及這些元素如何讓希巨與本族文化及村莊產生緊密聯繫。 《群島》包含完全由當地或外國音樂家編寫的原創音樂，這些音樂家都跟這個地區或這項計畫有所關聯。影片同名原聲帶《群島》是在當地自行錄製及混音，獻唱者以六種不同語言演唱，製作時間超過三年。   【 Archipelago: Track Four – Siki Sufin (“Earth, Wood, Water,Song”)】 2014 44 minutes 38 seconds Documentary/Film   No man is an island..or is he? The setting is Taiwan's beautiful eastcoast, in an aboriginal village called Dulan. 'Archipelago' is a film-serieswith several themes: art, music, and the ocean. The series focuses on certainindividuals who draw inspiration from, or have a dependence on, the sea. Why doartists, musicians and watermen from such diverse backgrounds andnationalities, gravitate towards the often-overlooked county of Taitung, andparticularly the tiny village of Dulan on Taiwan's east coast? In the pilotepisode, or 'track' (Track One - Alvaro Trugeda), Spanish artist Alvarointroduces himself and others as 'islands' in the 'archipelago', using poetry,art and music as his medium. As director and editor I was inspired by themetaphor of individuals (islands) and community (the archipelago) with theocean as link between. I discovered that all these characters, or islands as Ilike to put it, have some kind of relationship or dependence on the naturehere, and particularly the ocean. Dulan in particular is a microcosm of afascinating community of diverse individuals from all corners of the globe,co-existing as a mini-society, but very importantly with the ocean as thethread that binds them all.  Indigenouspeoples, Han Chinese, foreigners, it’s a real melting-pot of cultures,languages, music, art, etc. In the follow up episode (Archipelago:Track Two - Randy Chang in “Surfing and the Violin”) , the focus is onTaiwanese surfer and musician Randy Chang, who spends much of his time surfingin Taitung. Randy talks about how surfing and the violin are intrinsicallyconnected. Track Three showcases the works of JoelJoel, poet and painter, who was drawn here many years ago, because, as he putsit “the seeds of ideas grow faster”. I used Joel Joel’s poetry and art todocument his artistic journey, from Thailand to Taitung, which he now callshome. Track Four – Siki Sufin, was created duringthe one month residency period and documents elements of local Amis wood carverand spearfisherman, Siki Sufin’s daily life. I document the relationshipbetween earth (or island –Siki in this case), water (the rivers and ocean)wood(the livelihood) and song (communication) and how these elements bind Siki tohis culture and village. ‘Archipelago”also Includes original music written and composed entirely by local and foreignmusicians with some connection to the area and/or the project. The title track“Archipelago”, recorded and mixed locally and with a DIY approach, was createdwith contributors singing in 6 different languages over a 3 year period.  

【新香蘭海岸建築遺址考古發掘計畫】 2014 複合媒材   這幾年陸續來過幾次臺東，發現部份肉粽角已經逐漸沉到沙灘底下了，然而它不但沒有消失，反而更多。期間也曾想過，如果讓消波塊消失，東海岸能回復她的美麗嗎? 所以計畫的創作方式，以現實地景與虛構年代結合藝術創作與考古挖掘方法，進行對環境的省思。 「2214年的臺東新香蘭海岸。沙灘上似有古建築遺址露出，從外觀推斷，至少百年以上的歷史。由於地處太平洋沿岸，是否與南島文化有所關聯性，尚無法斷定。而創造此一人工建築群者，似有巨石崇拜的習俗與儀式。因此，為了釐清此建築群遺址的屬性、功能、製作工法、材質、範圍及所屬族群，我們擬訂『新香蘭海岸建築遺址考古發掘計畫』，以進行相關考古發掘、遺趾重建、文物複製、科學研究等工作。」   【 Excavation Plan of Architectural RuinsIn SIN,SIANG-LAN Seacoast 】 2014 Mixed media   Having visited Taitung a couple of timesover the past few years, part of the Rouzongjiao landscape has begun to sinkbeneath the beach. However, it did not disappear, but rather increased inscope. Thoughts of the possibilities if the armor blocks were to disappear:will the east coast recover her beauty? So, the creative approach for this projectis to combine actual landscape and false era with artistic creation and methodsfrom archaeology digs that reflect upon our environment. In2214, Taitung’s Xinxiang Lan Seacoast will likely to be a historic site.Judging from the looks of this ancient architecture, it may have been builtover hundreds of years. Since the site is situated along the Pacific coast,whether this is associated with Austronesian culture cannot be determined.However, the creators behind this man-made architecture seemed to possess thecustom and ceremony of giant stone worship. Therefore, the “Excavation Plan ofArchitectural Ruins along the Xinxiang Lan Seacoast”was drafted to clarify the site’s attributes,function, manufacturing methods, material quality, range and its population. Inaddition, this plan will carry out related archaeology excavations, sitereconstruction, antique replication, scientific research work and so on.

【起煙】   2014 350×600×500cm 壓克力顏料、畫布、複合媒材   這是一個來自天上的警告:   挨在炕旁享受著聲音、味道，享受著熟悉的溫暖。   可是在邁向富足的同時，若沒有持續添著木材只會讓火堆越來越小，雖然你們都看到了煙漸漸濃密，而且它溫柔含蓄的想要大聲提醒。   遲早有一天火燄會熄滅，連繫祖先的通道也必將消失，剩下的或許只有那點不起來的火種，以及張牙舞爪又綿延不斷的廣告旗吧。       【 pu cevulj 】   2014 350×600×500cm Acrylic paint, canvas, Mixed media   This is a warning from the heavens:   Lean against the heated kang and enjoy the sound, smell, familiar warmth.   But as you march towards wealth, if you do not add wood at the same time, the fire will eventually die down. Even though you see thick smoke gradually appearing, it gently suggests a loud reminder that.   one day the flame will burn out and the access to our ancestors will disappear. What is left may be insufficient kindling, unable to start a fire, and the continuous threatening gestures of banners.

【裏海】 2014 16 分 47 秒 數位音像   許多原住民族群（阿美、卑南、排灣、達悟）都有祖先來自海上的傳說，海對各個族群來說都俱有生命源頭的成分，從古至今持續地生產著各種與我們生命淵源密不可分的神話與故事，在日出日落間的海浪聲之中，不間斷地拍打、浸淫著我們對聲音的感受。也雕塑著我們講話時口語的傳達以及聆聽的感覺，伴隨著潮起潮落，產生了一股情感表達的流脈。而海對整個臺灣島上的我們來說，也關係密切。我們被海環繞，長年身處這樣的環境亦在我們的血液中醞釀著某種情感因素。   作品蒐錄兩位原住民長者（一位阿美族男性與一位卑南族女性）以母語口述關於部落海祭的故事，以及臺東海岸線上多處海岸的影像與聲音，透過數位技術重新處理、合成，重塑原始取樣的材料成特殊的畫面與聲響，並加入音樂手法的編輯，隨機組合關於海的種種情緒感知，藉以創造豐富且非固定的有機型態與組成系統。我關切的是海對我們俱有什麼樣的意義，造就了我們什麼又形塑了我們什麼，如同觀海的人，遙望著遠端，編織著心理的某個他方。   【 Sea Inside 】 2014 16 Minutes 47 Seconds audio visual   Legends were told of how our ancestors from many of the aboriginal tribes like Amis, Puyuma, Paiwan and Tao came from the sea. For all ethnic groups, the sea symbolizes the origin of life that created associated myths and stories. Even the continuous sound from the lapping waves in between sunrise and sunset as well as the roaring tides shape the way we talk and perceive sounds. Taiwan is an island surrounded by the sea and its people have long been influenced by this natural environment and are, therefore, born with strong emotions.    This work films two aboriginal elders (one male Amis and one female Puyuma) telling the stories of tribal sea rituals in their mother tongues. The film uses digital technology to rebuild and combine original materials of the beautiful Taitung coast images into exceptional pictures. This work also applies audio editing to display a random combination of the sea’s emotions that seeks to create a flexible organic form and system. However, my ultimate concern was about the meaning of the sea and how it has made or shaped us. Like those who watch far and beyond the blue waters, we are weaving a desired place within us.