| Summary: | 碩士 === 國立臺北藝術大學 === 美術學系碩士在職專班 === 105 === “There is rarely a creative man who does not have to pay a high price for the divine spark of his great gifts . . . the human element is frequently bled for the benefit of the creative element.” Carl Gustav Jung (1875 ~ 1961)
The enlightenment of traditional fishery memories, the thoughts of this exhibition, the surface mind, and the deep awareness, like the Henri Bergson said, are defined into quantitative and qualitative multiplicity. There are two perspectives of time, one is static “juxtaposition”, and the other is dynamic “interpenertration”
I have addiction to the sense of touching of objects, the visual cognition, and the vocabularies represent objects. I feel sad and lost from the abandoned fishing gears. This feeling might be a kind of personification of those objects and it comes from the superstition of the fishermen. It might be even a ritual of a martyr. How could objects so heavy be possible in art? There are layers of memories between the objects. One document comes with a layer of memory, then this combo will be gradually become a chain of memory. The chains are getting changed while bonding together. The traditional living tools had been turned into the useless art works, and the wasted tools had been turned into valuable art works. In this procedure of changing, my psychological status was planted, it was not mine, and until I found out the status while I was making works was a simulation beyond visual art.
In these works, my memories about making them can be traced back to the original wish of a fisherman. I am not sure the memories is just the memories, or something I expected. I kept considering, and accumulating the works. To sum up these series of works, I would like to embody an end for a martyr. I shall keep moving or to durée ( verb tense of duration in french, by Henri Bergson) other memories which goes to the previous chain of memories.
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