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Suann-Hái |山海

Light box、Hanji collage、Spray paint、Acrylic on canvas

91x61 cm、59x42 cm、24x34 cm、27x41 cm、40.5x31.5 cm

2020

Light, color and material are the constant elements in my work, and collectively, they serve as a starting point of my imagination.

 

For this work, I create colorful layers using Korean paper mounted on a light box to create the main color tones and structure. Based on my impression of my hometown, two terms from the Taiwanese dialect (Minnamese) – “suann-hái” (“山海,” meaning mountain and sea) and “tshiah-iānn” (“赤焱,” meaning sizzling hot, usually used to describe the weather) – are spelled out phonetically and spray-painted on the Korean paper with semi-translucent paint. With image layers formed by the paper, the light from the light box below reveals the words that seem partly concealed and partly revealed, whereas the colors of the paper are blended in the light, giving a different look from ordinary coloration.

 

During my stay in Seoul, the linguistic disparity between Korean and Chinese left a strong impression in my mind. The same Chinese characters or terms might have similar pronunciation and meanings, but would be expressed and interpreted in different ways.

 

Taking control over languages and written words has been one of the main strategies for rulers to establish their regimes. Due to political reasons, Korea underwent several polices to abolish the use of Chinese characters after WWII. In Taiwan’s early modern history, different political regimes also implemented policies to reinforce the speaking of Japanese or Mandarin. There are studies showing that the population speaking Taiwanese dialects, such as Minanmese, in Taiwan will rapidly decrease in the next decades. The current disappearance of languages is resulting from reasons different from the past, such as political intervention and the formation of national identity; instead, it is the result of drastic changes in the social and communal structure, environment and family structure.

 

The settlement pattern and development state of newly developed towns in Incheon differ from the city center of Seoul, where traditional architecture and modern skyscrapers co-exist in high density. I have re-examined my own imagination about myself and Taiwan through my observation of colors, written characters as well as the phenomena, lifestyle and cityscape derived from a similar historical context that has also been influenced by Chinese culture and Japanese colonization.

 

 

 

 

 

 

光線、色彩與材料是我創作中經常碰觸的元素,並以此作為想像的起點。

 

這件作品以韓紙拼貼色彩圖層裝裱於平板燈箱上作為主色調與結構,選自我對家鄉印象的詞彙:“山海 suann hái “、“赤焱 tshiah-iānn”閩南語羅馬拼音文字,以半透明噴漆將拼音文字噴畫在韓紙上。紙張像是影像圖層疊合,底部燈箱的光源透出使得文字若隱若現,紙張的色彩也因光線而重新混色透出,有別於顏料染色的所見樣貌。

 

在首爾生活的這段時間,語言文字的錯落感令我印象深刻。同樣的漢字或詞彙使用,韓文與中文時常有著相似的發音與理解,但卻是不同的表達詮釋方式

 

掌握語言、文字常常是統治者對於樹立正統的首要手段,韓國在二戰後因政治因素有過幾次廢除漢文的政策。在台灣的現代史中因不同政權的更替也經歷過日本語、國語運動。有研究顯示台灣的閩南語使用人口會在未來數十年間快速減少,目前面臨到的語言消逝狀況或許已經離過往的政治介入與國族認同有段距離,取而代之的是社群聚落結構、環境變遷以及家庭結構相較於傳統的極大改變。

 

仁川新市鎮的聚落型態與開發狀態有別於首爾市中心傳統建築與現代高樓密集並置,我透過對於色彩、文字以及同樣受中國文化與日本殖民影響甚大的歷史脈絡所發展出的現象、生活型態、城市樣貌作為觀察,展開重新看待自身的想像。