Mountain & Sea Rhythms (山海脈動)
SLY Art Space x Shipyard 175 Art Center
With thanks to Dr. Chen Yi-Hui, Chen Ya-Ping, Kuo Hui-chan, Tu Yen-Hao, and Guanglian Theatre 光鍊劇團
2026.8.18-9.6
Shipyard 175 Art Center, Aodi
從江河到海洋，水體從未靜止——它流動、塑形、跨越。山塑造水，水也改變山的生態。水過之處，苔蘚生於石上。流動的水攜帶著生物、石子，垃圾，物質在疊加，記憶被不斷重寫。積累與消融，發生在同一股水流之中——順流而下的事物，沒有一樣是未經改變抵達的；而任何沉澱下來的，終將被更遠的水流帶走。
我沿河而上，跨越海洋，站在大洋另一端的沙灘。我說著不同的語言，我穿過不一樣的人群，人群塑造我，我也影響著周遭。我用長江邊的記憶、手工、材料創作，放入白色展廳，講述遙遠族群的故事，也重塑自我的形態。
這場跨越，正是作品所呈現的狀態。六十英尺長的著色圓形, 沿著宣紙一路重複，裱於透明薄紗之上。重複從來不是純粹的重複。每一筆都帶著手的痕跡，也帶著水流過的痕跡，於是看似循環的，實則是漂移——齊格蒙特·鮑曼（Zygmunt Bauman）所指出的，當代身份、勞動與歸屬，已從堅固、固定的結構，轉向流動、暫時的狀態——沒有任何事物能靜止足夠久，凝固成永久的形——在此，這一論點以色與紙的形式被具象化。
未至，思考哪一種力量更為真實：是苔蘚的積累，還是水流拒絕讓任何事物沉澱下來的本性。它同時承載兩者，正如遷徙本身同時承載兩者——記憶被留下，記憶也被帶走，兩者同時發生。歸屬變成一種必須不斷重新協商的命運，而非可以固守的身份。作品懸置於未解之處，正是這種狀態本身的形狀——脆弱、暫時、處於移動之中，永遠沒有抵達最終的容器。
From river to ocean, a body of water is constantly flowing, shaping, crossing. Mountain shapes water; water changes the ecology of the mountain. Accumulation and dissolution happen in the same current — nothing carried downstream arrives unchanged, and nothing settles without eventually being carried further.
From river to ocean — I travelled upstream, crossed an ocean, and stood on a beach at the far edge of that water. I speak a different language now; I move through different crowds, who shape me as I shape them in return. I bring the memory of the Yangtze’s banks — its handwork, its materials — into a white cube, to tell a story of a distant community, and in doing so, to reshape my own form.
This crossing is the condition of the work’s stages. Sixty feet of brush-painted marks repeat along a length of Xuan paper mounted on sheer fabric. Repetition is never pure repetition. Every mark carries the trace of the hand that made it and the water that carried it, so what looks like a cycle is in fact a drift: Zygmunt Bauman’s argument that contemporary identity, labour, and belonging have shifted from solid, fixed structures into fluid, provisional ones — nothing sitting still long enough to solidify into permanent form — made material here in colour and paper.
Unarrived, think through which of these forces is truer: the moss’s accumulation, or the current’s refusal to let anything settle. It holds both, the way migration itself holds both — memory laid down, memory carried off, at once. Belonging becomes a fate to be renegotiated rather than a status to be held; the work stays unresolved as the actual shape of that condition — fragile, provisional, in motion, never arriving at a final container.
