摘要
在急劇都會化的現代，部落人口大量外移，而原鄉的文化寶藏卻在都市中遺失，生活其中的原住民漸漸遺忘了這些文化寶物。排灣族的藝術涵養甚深，曾創造眾多美麗圖騰。圖騰與生活習俗、貴族階級制度息息相關，深具創造力與生命內涵，從衣飾穿著與日常所用器皿上呈現之圖騰樣式，可表示其主人的身分地位。 創作者將原用於陶壺、衣飾、家屋雕刻的圖騰重新描繪建構，把人體姿態與新圖騰 結合，創作出十一幅人體攝影作品。再從新圖騰中取其幾何基礎造型，分解成四或五組，並輸出於透明賽璐璐片中，再一層層疊於人像攝影之上，讓圖騰呈立體感，發展新的圖騰樣貌，進一步說明貴族階級與傳統紋飾的意涵。 另外創作者取用可表達豐富姿態的手部作為琉璃珠創作的載體，將琉璃珠圖騰運用在美甲造型上。藉由雙手姿勢的搭配，傳達圖騰所示的文化意涵，讓觀者也能了解排灣族多彩的琉璃珠圖騰文化。 本創作保留圖騰在階級上的意義，再融入當代的社會觀點，不但活化圖騰意義，也讓圖騰的生命力綿延不斷。本次創作作品共有平面攝影作品11幅、半立體圖騰創作2幅，與石膏立體創作6座。
並列摘要
In the age of dramatic metropolization, tribe members move to cities and have lost their cultural treasures. Aborigines in cities gradually forget the abundance in their original culture. Paiwanese are well bred in art and have created numerous beautiful totems. The totems are full of creativity and the meaning of life. They are deeply related to customs and the social class system including the nobility. Totems on clothing, accessories and daily wares represent the social class of the owner. The artist reconstructed and redesigned traditional totems originally on potteries, clothing and sculptures in houses, and drew these new totems on human body photographs with specific gestures she took. There were 11 artworks she presented in this way. Then she grabbed basic geometric shapes out of the new totems and deconstructed them to 4 or 5 groups, and printed those shapes out on transparent celluloid sheets which were placed in stacks with some distance between each other in front of 2 human body photographs in a smaller size. The 3 dimensional totems created a new appearance out of the tradition and explained further about the content of totems and the noble class. Besides, the artist made plaster hands as carriers which were arranged to show diverse gestures and applied patterns from glass beads on nails. With the combination of different gestures, the audience would realize more about the cultural contents represented by these totems and colors on glass beads.