中文名字具有賽德克族與閩南人雙族裔結合的意義。創作關注現代化與全球化下的身份與族群文化，作品多以版印、服裝織品及空間裝置等形式，連結個人情感與共有的生命經驗。
The artist’s Mandarin name embodies a dual heritage, combining Sediq and Hoklo (Minnan) roots. Their creative practice explores identity and ethnic culture within the contexts of modernization and globalization, often employing mediums such as printmaking, textile art, and spatial installations to bridge personal emotions with shared lived experiences.
您希望觀眾在作品前感受到什麼？或帶著什麼問題離開展場？
What do you hope audiences will feel in front of the work, or what questions do you hope they will leave the exhibition with?
我希望觀眾在作品面前，首先感受到一種「凝視的失焦與模糊」，進而引發對「真實性」的懷疑。當觀眾凝視著紙張上若隱若現的「眼睛（Doriq）紋路」時，它不是清晰、嚴謹且神聖的傳統幾何紋樣，而是在視覺上呈現出一種殘缺、邊緣擴散且斑駁的狀態。我希望觀眾帶走的問題是：「我們現在所看到的傳統，真的是當時的傳統嗎？」 我們是否只是在接納被某種時代語境「翻譯」過後的文化殘片？如果文化必然會在傳承中遺失或扭曲，我們又該如何看待自身與這些「不完整尋獲物」之間的關係？
I hope viewers first experience a sense of blurred, unfocused looking that leads them to question “authenticity.” The faint “eye (Doriq) patterns” on the paper are not clear and sacred geometric motifs, but fragmented, diffused, and mottled forms. I hope viewers leave asking: “Is the tradition we see today really the tradition of the past?” Are we seeing cultural fragments already “translated” by a particular era? If culture is inevitably altered through transmission, how should we relate to these incomplete traces?
為什麼選擇透過工藝或手作技法來表現這個議題，而不是使用其他創作形式？
Why did you choose craft and handmaking techniques to address this issue, rather than other forms of artistic expression?
對我而言，工藝手作並不只是一種「製作技術」，它本身就是一種物質論述與身體行為。這件作品使用了解構與重構的手段：我將傳統賽德克族織品的材料徹底打碎、溶解，重新抄製成一張平面的手工紙（結合薯榔與構樹紙漿），再疊加版畫平版技法。如果我僅是用繪畫或數位影像呈現，作品將失去材料本身承載的「破壞與新生」的物理重量。手工紙的不規則邊緣、植物纖維的粗糙質地，以及絹印過程中油墨的滲透與模糊，都是手作過程中不可控的痕跡，這些物理特性恰好對應了文化在歷史傳遞中不可避免的損耗與形變。
For me, craft is not merely a technique, but a form of material and bodily expression. I broke down traditional Seediq textiles and remade them into handmade paper using Dioscorea rhipogonioides and paper mulberry pulp, then layered printmaking techniques onto the surface. The irregular edges, rough plant fibers, and blurred ink preserve the physical sense of destruction and renewal. These uncontrollable traces also echo the loss and transformation that culture undergoes through history.
當傳統文化、地方記憶或環境議題逐漸被淡忘時，您認為藝術與工藝能扮演什麼樣的角色？
As traditional culture, local memories, or environmental issues fade, what role can art and craft play?
當代傳統文化的傳承者，也許不再能作為歷史的「目擊者」，而更像是歷史的「保管人」。在這樣的背景下，藝術與工藝扮演的角色就是進行一場場「當代的翻譯」。藝術與工藝不需要肩負「還原完美過去」的沉重包袱——因為翻譯過程本就註定會遺失或扭曲。然而，工藝與藝術能夠作為一個媒介，把那些即將被淡忘的記憶與地方經驗，提煉成某種感官的實體。它提供了一個「現場」，讓當代人得以停下腳步，去察覺文化在變化中的殘餘與溫度，並開啟當代與傳統之間的對話。
Today’s inheritors of tradition may no longer be historical “witnesses,” but rather its “custodians.” Art and craft can therefore become forms of “contemporary translation.” They do not need to perfectly restore the past, but can transform fading memories and local experiences into tangible, sensory forms. In doing so, they create a space where people can sense what remains and begin a dialogue between the present and tradition.
從織品、紙張到模糊的「祖靈之眼」，您如何透過材料的轉化，呈現文化記憶在傳承過程中的變化？
From textiles and paper to the blurred “eyes of the ancestral spirits,” how do you use material transformation to express changes in cultural memory?
材料的轉化是我創作的核心語彙：(1)從立體的「織品」到平面的「紙」：織布是傳統賽德克族人生活與精神的具體承載，具有結構與緯線的秩序。我將其「打碎」再重組成紙，象徵著傳統結構在現代社會中的解體與格式化。(2)植物纖維與染色（薯榔、構樹）：紙張本身帶有土地與植物的自然色澤與肌理，保留了某種原始的物質記憶，但它已經不再是當初的那塊布。(3)模糊的「眼睛（Doriq）」：透過平版印刷，將象徵祖靈庇佑與戒律的圖騰印在手工紙上。圖像的擴散、退色與局部隱沒，直觀地隱喻了文化符號在當代情境中的流失與模糊化——尋獲物已不再是當初，我們所接收到的祖靈視線，也早已隔著一層薄霧。
Material transformation is central to my work. (1) From textile to paper: I break down the structured form of traditional Seediq weaving and reconstruct it as paper, symbolizing the fragmentation of tradition in modern society. (2) Plant fibers and dyes: Dioscorea rhipogonioides and paper mulberry retain the colors and textures of the land, while becoming something different from the original textile. (3) The blurred “eye (Doriq)”: printed images fade, spread, and partially disappear, suggesting how cultural symbols become fragmented and blurred over time.
當我們無法完整回到過去，您認為當代人應該如何重新理解自己與傳統文化之間的關係？
When we can no longer fully return to the past, how should people today understand their relationship with tradition?
我們必須坦然承認「過去已不可完整重返」這個事實。當代人在面對傳統時，不應一昧追求虛幻的「純粹性」或沉溺於懷舊鄉愁，而要意識到我們所擁有的傳統，皆是經歷過時代過濾與翻譯的「局部與不完整」。當當代的我們不再把自己定位為傳統的「複印機」，而是誠實地面對「現在的我們」，傳統文化就不再是死板的教條或博物館裡的展品，而是一種不斷在失真、轉譯中產生新意義的動態過程。認清這種不完整，才是當代人建立自我認同與文化主體性的真正開端，畢竟「傳統」也正是當時那的年代語境下的「當代」！
We must accept that the past cannot be fully recovered. Rather than pursuing an imagined “purity,” we should recognize that tradition reaches us through layers of historical filtering and translation. When we stop simply reproducing tradition and instead respond from who we are today, tradition becomes a living process that continues to gain new meanings through change and reinterpretation. Recognizing its incompleteness can also become the starting point for cultural identity and agency—after all, what we now call “tradition” was once contemporary in its own time.
