Eraser
2024
複合媒材|尺寸視場地而定
白蠟、木頭、日記、攝影、現成物、紙本設色
作品源於印度旅行時,目睹的火葬儀式。焚燒的身體在烈焰中緩慢解離,從有形轉為無形,從器官與肌膚逸散為灰燼與氣味。在那個現場,死亡是一種再形塑的過程。這段經驗成為創作的核心驅力——對「身體作為疆域」的再思考,以及「主體邊界的可逆性」的視覺化詮釋。
地面上散置的木頭表面被浸蠟、覆蓋、冷卻,接近白骨與化石的質地;而在某些裂縫與斷面中,半透明的白蠟四隻伸出、融化、滲入。蠟作為媒材的特性——既可塑又易毀、可凝固又易融解——煉金術式地回應著火葬與身體疆域重構的精神狀態。
作品名稱《你不覺得他是可以擦掉的嗎?》以一句近乎無辜卻充滿暴力性的疑問,喚起對「抹除」這個動作的倫理與感官反思。擦除的可以不只是形體,更是身份、痕跡、記憶,以及對主體穩定性的最後一點執念。這是一場關於「可擦性」的追問:什麼能被擦除?誰來擦?而擦除的背後,是不是總伴隨一種看不見的重新雕刻?
重鑄——是為了再次遇見
日記摘錄
2024/08/26
複合媒材|尺寸視場地而定
白蠟、木頭、日記、攝影、現成物、紙本設色
作品源於印度旅行時,目睹的火葬儀式。焚燒的身體在烈焰中緩慢解離,從有形轉為無形,從器官與肌膚逸散為灰燼與氣味。在那個現場,死亡是一種再形塑的過程。這段經驗成為創作的核心驅力——對「身體作為疆域」的再思考,以及「主體邊界的可逆性」的視覺化詮釋。
地面上散置的木頭表面被浸蠟、覆蓋、冷卻,接近白骨與化石的質地;而在某些裂縫與斷面中,半透明的白蠟四隻伸出、融化、滲入。蠟作為媒材的特性——既可塑又易毀、可凝固又易融解——煉金術式地回應著火葬與身體疆域重構的精神狀態。
作品名稱《你不覺得他是可以擦掉的嗎?》以一句近乎無辜卻充滿暴力性的疑問,喚起對「抹除」這個動作的倫理與感官反思。擦除的可以不只是形體,更是身份、痕跡、記憶,以及對主體穩定性的最後一點執念。這是一場關於「可擦性」的追問:什麼能被擦除?誰來擦?而擦除的背後,是不是總伴隨一種看不見的重新雕刻?
重鑄——是為了再次遇見
日記摘錄
2024/08/26
烈火燒著,只是身體而已,
看著一具具不停地進場,堆木頭,在其中的肉。
讓五個元素回到各自裡,
他們拿著火苗繞了五圈然後點火,這裡只有一個人哭。
很訝異的,這一點都不可怕,
看著人體因高溫而捲曲或舒張,
油脂使火旺,骨頭粉逝、一張張臉孔消失。
的確,身體只是個容器。
我從站著、倚著到坐著,
無數個小時過去,火焰在夜裡閃逝著,
肚子餓了起來。
是啊!我的身體是拿來讓我認識這個世界的,
牠可以是任何型態,在任何其他地方。
男人的胸骨和女人的骨盆因為很堅硬不易燃燒,
他們將作為燃燒的剩餘沉進恆河裡。
燃屍工作者非常粗魯的動作,
清楚且不能更直接地表示:「那不是生命。」
他們用長長的竹子刺進一具焦黑的身體,
舉起,再扔進火的中心,
重重的木頭砸向。
好奇怪,這一點都殘忍不起來。
我完全是無形的。
白煙從沒停止上升。
向天門,開天窗。
好像從未消失,的確消失。
儀式之日,家屬必須禁食,
他們必須感覺到餓。
我躡手躡腳地拍了幾張照片,
愧疚感滿滿地深怕害他們在人世有了形象,
但我的想望還是讓我按下了快門。
因為待久的緣故,幾組送行人與我交談,
他們看我一動也不動地坐著,問我正看著什麼?
——「沒有在看什麼,只是感覺。」
這一瞬間我想起那種不專心地看見、
無所事地看、觀,和老鷹的眼睛。
「Just feeling.」
原來就是這麼簡單的字,
我繞道了多遠?
他們每每提醒我可以拍照,
好像我急切想要記住的心情在外曝光過度,
小心翼翼又快速地按下一張。
空氣極度燻赤,
外露的皮膚都要灼傷。
雨不時地下,
滴在燒白的木材上,發出灑脫的一聲:
「唰——」兩聲、三聲、無數。
我沒特別注意聽,
只是感覺,用這具身體。
遲暮之前,盯著車窗外,
白天是無法從玻璃看見自己倒影的。
是場不無聊,回想起來也不知道笑不笑得出來的旅程。
旅行從來就不是為了改變,
而是為了讓一切看起來新鮮和耀眼。
那是「陌生」的魔法。
如果魔法就是想像力和好奇心,
我在哪裡都可以觀想和發現,
像回到過去一樣熟悉的新奇。
對我來說,
其實就是生活。
「青春射出一道極微妙的隱喻,」
「不再容易濕潤也不那麼硬了。」
2024
Mixed-media installation | Dimensions variable.
white wax, wood, diary, photography,
found objects, pigment on paper.
The work originates from a cremation ritual the artist witnessed during a journey to India. In the blaze, bodies slowly disintegrated—dissolving from form into formlessness, from organs and skin into ash and odor. In that moment, death appeared not as an end but as a process of re-formation. This experience became the core impetus of the work: a renewed reflection on the body as territory, and a visual articulation of the reversibility of the subject’s boundaries.
Scattered across the floor, pieces of wood are coated, immersed, and cooled in wax, taking on a texture that evokes bone or fossil. From within certain fractures and exposed cross-sections, translucent wax limbs emerge—melting, seeping, and entangled. The material properties of wax—malleable yet perishable, solid yet meltable—respond, in an almost alchemical way, to the psychic state of cremation and the reconstitution of corporeal frontiers.
The title Don’t You Think He Could Be Erased? is framed as an almost innocent yet inherently violent question, prompting ethical and sensory reflections on the act of erasure. What is erased may not only be the body, but identity, trace, memory—and the final insistence on the subject’s coherence. This is a meditation on erasability: What can be erased? Who performs the act? And is erasure always accompanied by an invisible re-inscription?
To recast—
is to allow re-encounter.
2024.08.26
Mixed-media installation | Dimensions variable.
white wax, wood, diary, photography,
found objects, pigment on paper.
The work originates from a cremation ritual the artist witnessed during a journey to India. In the blaze, bodies slowly disintegrated—dissolving from form into formlessness, from organs and skin into ash and odor. In that moment, death appeared not as an end but as a process of re-formation. This experience became the core impetus of the work: a renewed reflection on the body as territory, and a visual articulation of the reversibility of the subject’s boundaries.
Scattered across the floor, pieces of wood are coated, immersed, and cooled in wax, taking on a texture that evokes bone or fossil. From within certain fractures and exposed cross-sections, translucent wax limbs emerge—melting, seeping, and entangled. The material properties of wax—malleable yet perishable, solid yet meltable—respond, in an almost alchemical way, to the psychic state of cremation and the reconstitution of corporeal frontiers.
The title Don’t You Think He Could Be Erased? is framed as an almost innocent yet inherently violent question, prompting ethical and sensory reflections on the act of erasure. What is erased may not only be the body, but identity, trace, memory—and the final insistence on the subject’s coherence. This is a meditation on erasability: What can be erased? Who performs the act? And is erasure always accompanied by an invisible re-inscription?
To recast—
is to allow re-encounter.
Diary excerpt
2024.08.26
The fire burns. It’s only the body.
Watching one after another come in—stacking wood, laying flesh.
Returning the five elements to where they belong.
They walk around the pyre five times with a flame and set it alight. Only one person cried.
Strangely, it wasn’t frightening at all.
Watching the human form curl and expand under heat,
oils feeding the flames, bones turning to powder, faces disappearing.
The body is, indeed, just a vessel.
I went from standing to leaning to sitting.
Hours passed.
The fire flickered into the night.
I grew hungry.
Yes—this body is how I come to know the world.
It can take any form, exist anywhere else.
The sternum of men and the pelvis of women don’t burn easily.
Those parts are cast into the Ganges as remains.
The cremation workers were rough.
Their actions were blunt, direct,
clearly expressing: “This is not life.”
They stabbed long bamboo sticks into the charred corpses,
lifted and threw them into the fire’s center,
piling heavy logs upon them.
Oddly enough—it wasn’t brutal at all.
I was entirely formless.
White smoke never stopped rising.
Toward the gate of heaven, through the skylight.
It seemed never to vanish—
yet it truly had.
On the day of the ritual, family members must fast.
They must feel hunger.
I tiptoed to take a few photos,
guilty, afraid I’d leave them with a worldly image.
But my desire made me press the shutter.
After a while, a few groups of mourners spoke to me.
Seeing me sit there, unmoving, they asked:
—“What are you looking at?”
“Nothing in particular,” I replied.
“Just feeling.”
That moment reminded me of that kind of inattentive seeing,
purposeless watching,
that vision like a hawk’s.
Just feeling.
So simple.
How far I’ve strayed to arrive at these words.
They kept encouraging me to take photos,
as if my eagerness to remember had overexposed itself.
I clicked a few more, cautiously, quickly.
The air was acrid.
My bare skin scorched.
Rain fell intermittently,
striking the white-burnt wood with a crisp “sshhh—”
once, twice, many times.
I didn’t count.
I didn’t listen.
I simply felt,
using this body.
Before dusk fell,
staring out the car window,
I thought:
In daylight, glass doesn’t reflect your image.
The journey wasn’t boring.
Recalling it now,
I don’t know whether to laugh or not.
Travel never changes you.
It only makes everything appear fresh and luminous.
That’s the magic of strangeness—
if magic is simply imagination and curiosity,
then I can conjure and discover wherever I go.
Like returning to a past that feels strangely new.
For me,
that’s what living is.
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