Tell
2024
布料、繩索
Fabric, rope
80x150cm x (12pieces)
在這個作品裡，我想像了像外來種遷徙與漂泊的路徑，在南海漂流的島嶼遙望月亮，也想像了家鄉的月亮。
In this work, I imagined the paths of migration and drifting like that of an invasive species. I envisioned an island drifting in the South Sea, gazing at the moon, and also imagined the moon of my homeland.
在我的家鄉語言裡有「月娘」一詞，「月娘」的原形已不可考，而在我所追溯的文本脈絡裡：如《山海經》裡的常羲、道教中的太陰星君以及民間傳說裡的嫦娥等，「月」在東方文化裡也多以女性的形像出現；我在作品裡揉合自身家族的祭月儀式以及上古神話裡的月神形象，透過高倍望遠鏡、衛星地圖與科學論文了解這塊土地上的故事，以攝影、繪製與版畫印製呈現了這件作品。就像物種漂流到另外一塊土地，前方模糊卻又帶有記憶中的輪廓線，月亮逐漸消失卻又再次升起...
In my hometown's language, there is the term "月娘" (moon lady), the origins are now lost to history. However, through the texts I have traced, such as Shan Hai Jing (Classic of Mountains and Seas), the Taoist deity Taiyin Xingjun (Moon Star), and the folklore of Chang'e, the moon has often been represented as a feminine symbol in Eastern culture. In my work, I blend the lunar rituals of my family with the image of the moon goddess from ancient mythology. By using telescopes, satellite maps, and scientific papers, I attempt to understand the stories of this land. Through photography, drawing, and printmaking, I bring this work to life. It is like how species drift to another land—where the path ahead is blurry, yet faint outlines of memories remain, where the moon gradually fades, and to rise again…
