【小海島的曦曦暮暮】 2012 單組50×50cm，共12件組 影像輸出、貼紙、壓克力、炭筆、鉛筆、畫布   咻咻咻…   坐在火車或是客運或是自己騎著摩托車，周圍的景色與場所都是咻咻咻…不停變換就像生命景況一樣也是咻咻咻，我從哪來，要到哪去，大家都在找一個適切的歸屬，卻總是如此汲汲營營。我也經常欲言又止幻想自己能做輕盈狀像風一樣隨行，藉由長途的短程的旅行似乎就能離不是自己的身體遠一些，圍繞著小海島跑來又跑去，試試看把自己切割開留下部分給那些好像有點熟稔的曦曦暮暮。   即便如此，終究還是咻咻咻…       【The Moment of Little Island】 2012 50×50cm for each piece, totally twelve pieces Photograph, sticker, acrylic paint, charcoal, pencil, canvas When I travel by train, bus or motorcycle, the surrounding scenery keeps changing much like how life is. Contemplating where I come from or where I can go in the future, we are all after all looking for an appropriate place to stay. I often fantasize about traveling like the breeze freely, lightly and gently. It seems as if I can leave my body freely, like the rays of light from the sunshine disbursing into space evenly, widely and generously.

【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.

【飛行物2011-1】 2011 91.5×200cm 油彩、油性蠟筆、麻布 如果要為「飛行系列」作一個美學上的概念分析，可以說那是一個關於「自由」的概念。康德曾經為藝術作了一個著名的美學性說法。他說：「美學的追求是一種無目的的合目的性。」這個說法特別適用於作者的「飛行系列」作品上。所謂的「無目的」在作者的創作脈絡上最為純粹。「飛行系列」當中的繪畫型態並沒有要去構築出什麼特殊的美學性，反而卻是一種繪畫當中更基礎的性質－「自由」。對於這個美學上的「自由」概念，其實也正是作者對於藝術創作這個活動的「合目的性」。「飛行物可以是任何東西，它的形象允許不確定性，可以是漂浮…甚至是一種神遊。」（游依珊創作日誌2009）。在「飛行系列」裡，作者所處理的並不是乘坐某種飛行機具的飛行狀態，而較像是囈想冥思之類的表達。   【Aircraft 2011-1】 2011 91.5×200cm Oil paint, crayon, linen If we want to analyze “The flying series,” from the vantage point of aesthetics, we could say that it is about freedom. Kant has a well known saying in that “the pursuit of aesthetics is aimless and purposive.” It is particularly true in Yu’s “Flying series.” The so-called “aimlessness” is exactly what the artist is searching for; to the artist the aimlessness is a kind of freedom free of the academic sense of beauty. Instead, the inherent act of painting is purposive on its own. Yu once wrote that an aircraft can be anything, but its image is allowed to be uncertain. It can be floating or even a kind of spiritual fugue. In the “flying series,” the artist does not depict the vessel nor the flight but rather the meditative state where one’s mind goes for a walk.

【福爾摩沙】 2012 142×200cm 壓克力顏料、亞麻布 有一天當我躺在床上看電視時，腦中突然出現一個巨大的人物影像，他的腹部和頭部各有一個湖泊，上面漂浮著船。後來我把腦中的影像畫成一幅小畫；雖然畫已完成，但我決定把同樣的影像畫成更大幅的畫，擁有更豐富的色彩及細節。當我開始作畫，只有這麼一個基本的想法，剩下的部分在開始動筆後就很自然地發展。這幅畫展現了相異的、虛構的生命形式，例如類似生物和植物的人類與動物。我不喜歡呈現目前存在的現實，而傾向呈現一個可能的、不同的現實。由於日本福島事件，現在的我對輻射議題很感興趣，因此這幅畫表現了從輻射線裡出生的生物。   【Formosa】 2012 142×200cm Acrylic paint on linen When I was in bed, watching TV, suddenly I had an image in my mind, of a big figure which has a lake in his belly and in his head, where boats float on the lake. I drew a small picture from it. Even though I had this small picture, I decided to make a big painting with the same image, but much larger and much more colorful and detailed. There is only this basic idea and the rest naturally developed after I started to paint. The painting shows a scene of different fictive life forms, such as human and animal like creatures and plants. I do not like to show the existing reality, only a possible different reality. At the moment I am interested in radiation, because of Fukushima. The painting shows creatures born from radioactive rays.

【2012達悟之歌】 2012 116×91cm 油彩 記憶中的大船下水是達悟族人精神的寄託，而慢慢消逝的傳統，是老族人心中永遠的痛，畫中遠方的微光是族人內心裡的盼望。   【The Song of Tao 2012】 2012 116×91cm Oil paint The Grand boat launching ceremony is a spiritual commitment to the Tao tribe. It pains the older generation to see this tradition diminish over the years. The distant glare in the painting represents the hopefulness of the Tao people.

【非志願性讀者】 2012 176×200cm 攝影及文字輸出   在「非志願性讀者」中，藝術家利用報紙來反應生活中資訊的過量及探討其流動的脈絡，以及媒體如何影響我們所認知的社會真實。在一百天內，她不購買任何報紙及雜誌，不主動瀏覽電視及網路新聞，只閱讀送到手邊的免費報紙，包括在捷運站發放的、座位上撿到的、早餐店桌上的等等。她收集這些報紙，拍攝並記錄下與該報相遇的時間地點以及當天的頭條，試圖記錄下資訊的流通網絡，以及這段時間內媒體所建構出來的「真實」。而在這一百天內，她對社會的認知則全然的被該媒體所掌控。   【Involuntary Reader】 2012 176×200cm Photograph and text              In this work, the artist uses newspapers to reflect on the excessive information in our daily life, exploring the flowing context and how the media affects the truth, as we know it as a society. In a hundred days, she did not buy any newspapers or magazines, nor did she watch news from both the Internet and the television. She only reads free newspapers given out at the Metro stations or found on the seat or table at the breakfast shop. She collected these newspapers, photographed, and recorded the time, place and the headline of the day. She tried to compile the flowing network of information and the “truth” constructed by the media during her experiment. Within the hundred days, her perception of society was completely controlled by the media.

【鹿的理念】 2012 162×130cm 油彩、畫布 在影子的場域裡－內部與外部，光明與黑暗，物質與非物質，形式（實物）與觀看之間－是以假弄真的心物擺盪，心靈不再是全然主觀下想像力的神思馳騁，也不是某個主體表現下的被動接受。對於一切抽象普遍性（受制約的簡化認知模式）的解脫，我們不得不沿著感性聯繫的方向靜觀靈視。關於「理念的『影子的影子』」，原來真的只是影子－影子的覺受轉化成了理念的一個事件。   【Notion of Deer】 2012 162×130cm Oil paint, canvas In the domain of the shadow – Internal and external, light and dark, material and non-material, reality and observational. Perceptions of being genuine or fictitious are both just projections of the mind. It no longer plays an active role in the subjective imagination, nor does it accept the performance of a certain subject passively. Getting rid of abstract universality (restricted simplified cognitive mode), we cannot help but wait and see in the direction of emotional ties. About the concept of “shadow of the shadow,” it is just a shadow. The feeling of the shadow is transformed into a concept.

【Chuab，帛琉巨人】   2012 60×120cm 混合媒介 Chuab是我們的土地。依據帛琉傳說，有一個巨嬰從大海蛤誕生，快速成長。人們擔心他會吃盡食物，因而在巨嬰底下點火並推入海中，從此變成帛琉島。   整體來看，帛琉外型像個巨嬰，各州代表身體的不同部位。今日，這個巨型Chuab已發展成更大的形體，矗立海上、直達空中。藉由電腦主機板和微晶片，我們踏出一大步；這項科技已象徵性地將我們的世界縮小至位元及像素。帛琉已是全球網路成員之一，平日運用普遍的通訊衛星及電腦，加深我們對現代科技的高度依賴，如同宗教一般。   椰子樹的彈性好，是個漂浮裝置，可緊抓暗礁形成新島嶼，並將自身變成主體，吸收更多的碎片與殘骸，最後形成沙灘圍繞的島嶼。此外，椰子樹功能多，可做成日常用品、籃子、繩索、木料、椰子油及椰奶等。   帛琉屬於貨物文化的島嶼，許多事物不斷引進並累積，並形成今日的樣貌。這裡的環境像個子宮；據醫學研究指出，子宮裡7到9個月大的嬰兒，已能透過自己的感官蒐集各種資訊。       【Chuab, the Giant of Palau】   2012 60×120cm Mixed media   Chuab is our mother land. The Legend tells that a baby born from a giant sea clam and grew up so fast. People worried that he might deplete all food, so they set fire under him, toppling him down across the sea and therefore became the Island of Palau.   Palau as a whole is this body of the once a giant baby. And every states of Palau represent its various body parts. Today, this Giant Chuab, has evolved to a much larger form, standing on the sea and reaching up to the sky. From the mother board and micro-chips in a computer, we take a Giant step; this technology has symbolically shrunk our world into bytes and pixels. Palau has become a member of the global network; the use of satellite communications and computers has cemented our minds and dependency on the modern technology today; it’s almost religious.   Coconut is a very resilient tree and a floating device. It could start a new island by holding on to a reef and itself becomes the host, to accumulate more incoming debris and eventually evolve into an island with beach around it. This tree serves many purposes: household utensils, baskets, ropes, lumbers, oil and coconut milk.   Palau is an island of cargo culture. Over the years, we accumulate incoming things and Palau is a result of that. Palau’s environment is like a womb. Medical research says that 7 to 9 months old baby in the womb is already inputting information gathered through their senses.

【《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.