摘要
在歐亞大陸上，假使你往一個方向直走，你可能會到達不同的國家，聽見不同的語言，但在一個島嶼上，只有兩種可能，遇到山或海，不然就是回到原點。這是一則不斷重複的環繞、找尋出口然後被打槍（閹割）的冷笑話。 對我來說，這就是令我得以發揮一切想像與創造性的開端，而我目前進行的創作則是增補這段故事的細節與事件、對於故事氣氛的詮釋，使它慢慢成為牆上的那張網，而我期待的是這張網能自我生成為一種媒體，不斷的增生與蔓延（有點像是粉絲建立的論壇一樣，有大量的粉絲影片、影像（fan video、fan Art），這是當代紀錄與書寫歷史的特殊方式。這或許可以解釋為何我以繪畫圖像為出發點，並不斷圍繞著這條主軸製作作品，但它可能是一個小動畫，一支影片，或是一個舞台劇本。
並列摘要
If you go straight in one direction across Eurasia, you might pass through many different countries and hear a variety of languages. However, on an island, there are only two possibilities for such a journey: running into a mountain or the sea. Or, you would just find yourself back at your original starting point. Like a bad joke, these surroundings are just repeated iterations of themselves. For me, this has inspired certain creative imaginations, and I have added details and events of this particular story to my current work to conduct an interpretation of the story’s atmosphere. This enables it to gradually take form as that net on the wall. I look forward to this net’s self-transformation into a type of medium that continuously proliferates and spreads (a bit like a forum generated by fans that holds a large amount of fan video and art). This is a method unique to contemporary records and calligraphy history. This might explain why I utilize painting images as a starting point to produce works that continuously revolve around this focus. However, it may come in the form of a small animation, a movie, or an on-stage play.
參考文獻
延伸閱讀
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- 薛美莉、李麗華、謝莉顒、蕭一民（2018）。溼地方舟－人工生態浮島。自然保育季刊，(103)，80-83。https://www.airitilibrary.com/Article/Detail?DocID=16072928-201809-201810030006-201810030006-80-83
- 博爾赫斯、西川（1995）。神秘的島嶼。傾向：文學人文季刊，(5)，187-200。https://doi.org/10.6490/TQ.199509.0187
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- 李怡欣（2021）。FESTIVAL of ISLAND。鄉間小路，47(9)，i-ii。https://doi.org/10.6707/agri.202109_47(9).0001