尺寸：L100 × W77 × H5 公分
材質：手工紙（薯榔、構樹紙漿）、油墨
以臺灣賽德克族的布料織品作為出發，將傳統織布的材料打碎製作成一張平面的紙，並絹印出模糊不清的傳統圖騰符號－「祖靈的眼睛」。
經過工業化的社會,生活開始富足，歷史逐漸地走向終結，在這個講求全球化認同的當中，我們都在追求一個既定成見並單一的生活，族群走向均值的狀態。原初的文化已經不復存在，我們已經無法實質性的「返鄉」了，也許當務之急要面對的是「現在的我們」。所謂的傳統是當時的傳統嗎？
現今傳統文化的傳承者也許就只是保管人，而非目擊者，取而代之的是對過去的「翻譯」，一個呈現局部、不完整的狀態，並且形式有所改變，畢竟在翻譯的過程當中必定會丟失或是扭曲，一如我們早已知曉：尋獲物已不再是當初。
Dimensions: L100 × W77 × H5 cm
Materials: Handmade paper (Dioscorea cirrhosa and paper mulberry pulp), ink
This artwork originates from the textiles of Taiwan's Seejiq people. The materials of traditional weaving were broken down and transformed into a flat sheet of paper, onto which a blurred traditional totem symbol—the "Doriq" (Eyes of the Ancestral Spirits)—was silkscreened.
Having passed through an industrialized society, life has become prosperous, and history is gradually drawing to a close. In this era that emphasizes globalized identity, we are all pursuing a single, stereotyped way of life, leading ethnic groups toward a state of homogenization. The pristine culture no longer exists, and a substantive "return to the homeland" is no longer possible for us. Perhaps the most pressing matter at hand is to face "who we are now." Is so-called tradition truly the tradition of that bygone era?
Today, the inheritors of traditional culture may merely be custodians rather than witnesses. In their place is a "translation" of the past—a presentation that is partial, incomplete, and altered in form. After all, something is bound to be lost or distorted in the process of translation, just as we have long known: the recovered object is no longer what it originally was.
