《 Hole in the Body|身體裡的洞 》


Collage, acrylic, oil pastel, charcoal, calligraphy


In late 2020 and early 2021, I took a break from documentary film and photography work and began The Hole in the Body. In this series, I intend to portray the energies of different subjects in each work. To do this, I create each work while simultaneously interviewing the subject. I listen to their stories, usually by Facebook Messenger and create according to the feeling that is intuitively communicated. I began the series primarily using pastels, but have gradually found that the works become livelier and more full through the use of acrylic. Most of the subjects have been friends of mine, and so the project is deeply personal in nature. By probing their lives, in order to find where their “holes” are, which excrete their energies, I also intend to better understand myself and my own history in relation to these people.


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2020 年底至 2021 年初製作《身體裡的洞》時,世界正經歷新冠肺癌的襲擊,我也為了躲避疫情,從法國回到台灣。2015-2020為了學業離開台灣五年,我幾乎喪失所有台灣同儕的連結。在本系列作品中,我透過臉書Messenger進行採訪,訪問了同年齡的台灣人,並根據銀幕中感應到的能量進行創作。 起初使用蠟筆,接著加入壓克力及拼貼元素。 透過對過往好友們的訪談,了解他們的生活,我試著辨認他們能量的『洞』在何方,也通過這些人身上的洞,我試圖書寫私密的當代台灣史。


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À la fin de 2020 et au début de 2021, j'ai pris une pause pour le travail de la photographie documentaire et j'ai commencé《The Hole in the Body》. Dans cette série, j'ai l'intention de dessiner l’énergie cachée dans le corps de différents individus. Pour ce travail, je crée chaque œuvre en interviewant simultanément mes amis sur facebook chat. J'écoute leurs histoires et je crée selon le sentiment qui est intuitivement communiqué. J'ai commencé la série en utilisant principalement des pastels et l'acrylique, mais aussi le collage des différentes matières de papier. La plupart des sujets étaient des amis à moi et le projet est donc profondément personnel. En sondant leur vie, afin de trouver où se trouvent leurs «trous», qui excrètent leurs énergies, je commence aussi à mieux me comprendre et mieux comprendre ma terre natale et son histoire.

《Phenphen tries to speak Chinese 芬芬試著說中文》

109.1*78.7 cm, 2021, collage / chalk / charcoal / sumi

《Real estate, direct marketing, my mom is already gone

房地產直銷我離開的母親》

104*76 cm, 2020, collage / oil pastel / charcoal 

《Me naked 我全裸》

109.1*78.7 cm, 2021, chalk / charcoal / sumi / photo collage

《Video game player 電動者》

60*27 cm, 2021, collage / chalk / charcoal / carton

English Translation:


I am particularly sensitive to human bodies. When drawing, I'm looking for a hole in the human body. That hole is actually an abstract hole, from where the the subject's hidden part, a part she does not know, flows out. Like a surfer waiting for the wave, I draw people while looking for the wave in their bodies. To me, by virtue of their mutual flowing, waves are bodies, and bodies are waves.

《We are locked on a high mountain to play online game for years

我們被鎖在只能玩線上遊戲的高山上》

91*72.5, 2020, charcoal / oil pastel

《Amitofo, thank you

謝謝 阿彌陀佛 感恩》

104*76 cm, 2020, collage / oil pastel / charcoal 

《Heater, mahjong, the most hateful couple

暖爐 麻將 最討人厭的夫妻》
91*72.5, 2020, acrylic / charcoal / oil pastel

《How do you know in side of you there is no ghost 

你怎麼知道你裡面沒有鬼》

104*76 cm, 2020, acrylic / oil pastel / charcoal 

English Translation:


During the whole drawing process for this picture, I was astonished. I didn’t understand why he looked so strange. I have a sharp sensitivity to people in this world such that, when I look at them, I feel exceptionally stimulated. This heightened stimulation is like an unspeakable secret, which is brought out of me without permission. So, throughout this and other drawing processes, I continue to be shocked. Fear, without an exact danger to be fearful of, exhilarates me. These emotional contrasts and the feeling of floating without a place to land make me happy.


Now, I’m sitting on a chair listening repeatedly to the same song, and he is drawing beside me. Drawing in moments like these sets me free. I’m concentrated to the point of being in a state of continuous shock, as if the world has expanded to the point of limitlessness. And what’s magical is that if I look at other people, but I’m not drawing them, I’m not shocked by their bodies. For me, watching and expressing at the same time are prerequisites for this concentration, and the excitement or even panic that can occur.

《Outside of the fake hell

十八層地獄外散步的老人的腳底回音》

104*76 cm, 2020, oil pastel / charcoal 

《Light of leg, cicada in the summer 

腿的光 夏天的蟬聲》

109.1*78.7, 2020, collage / oil pastel

《The one that feeds her makes her hungry 

餵飽她的讓她飢餓》

109.1*78.7, 2020, oil pastel / charcoal

English Translation:


I sometimes find that I can only draw someone abstractly without a clear figure. For example, when I drew Mimi, I initially felt that Mimi didn’t need to have a head. Because the purity of her existence needs to be presented in an abstract way. But I didn’t trust this intuition. So, as I continued and drew her head, I still felt that it wasn’t right, and that she was more present in the drawing without the understandable shape. Listening to my intuition while painting is mysterious, because my intuitions often sound very weird.

I discover in my drawing process that there are at least two of me coexisting. The first is the “crazy me”, the second me is “jury me.” And of these two, I want to believe that the crazy me will always lead me in the right direction. But even this me is further divided between a me that functions from a place of personal truth, and another that is out-of-the-loop and disconnected. So, to decipher the mystery of listening to my intuition while drawing is to identify and listen to the right me. 

《0932607241》

109.1*78.7, 2020, charcoal / oil pastel

《She and her documentary film XIXI 她跟她的紀錄片西西》

109.1*78.7, 2020, oil pastel / charcoal

《A friend of seven years ago, doing a video call on facebook 

七年前的朋友很久不講話,視訊》

104*76 cm, 2020, oil pastel / charcoal 

English Translation: 


Every time that I draw, a theory arises in me, as I amuse myself by discovering the purpose of each action I take. This theory is that my drawings are games with different rules, depending on the person I am drawing. These rules are not carved in stone, and vary from person to person. The rules of each picture and of how I am to create it arise spontaneously in me, as though handed down from the clouds. And so, while drawing one person, it may be as though I’m playing Chess, working with an intuited rigidity to decipher the person’s essence. Another person may invite me to follow rules akin to those of Hide and Seek, and I must search them out. My drawing, then, is itself a greater game. It is the game of deciphering which lesser game must be played to uncode the secret of each subject’s life. Though the games’ rules seem handed down from the clouds, they originate in me. And so, I am at once the game-creator and game player, carefully observing the lines of people’s bodies to find out what games must be played.

《His monthly break down 

他的每月癲狂》

91*72.5, 2020, acrylic / charcoal / oil pastel / collage

《Affaires 外遇》

104*76 cm, 2020, acrylic / oil pastel / charcoal 

English Translation: 


Recently, I’ve been waking up early in the morning to meditate. My purpose in meditation is to find a hole in the universe, available at this special time, where I can tune into the vibrations of a cosmic radio station. After tuning in, when I draw, I start to observe both the people I draw and my own process of creation, including my own impulse to stop when there is nothing left to add or take away.


Tuned into this station, there is no delay between my discoveries and actions, and so I experience both simultaneously, enabling me to flow as all in nature does. And so, when I am practicing drawing, I am searching for a way of living, in which no part of me is delayed.

《Our junior high school hurted her deeply

我們的國中讓他滿身傷痕》

104*76 cm, 2020, collage / oil pastel / charcoal

《Sole of foot, twig, rose-cheeked

腳底 樹枝 泛紅的臉》

29.7*42 cm, 2020, oil pastel / charcoal

English Translation:


I am going to walk around Taiwan. I want to digest the last project through the continuous movement of my body. My body continues to move. Through moving, it becomes a conveyor belt. The space on the conveyor belt is being cleared. I like this kind of expression, that my hands and my eyes are unsynchronized, missing an imagined meeting point where they might work in tandem. This empty space reminds me of five months ago, working with people with autism on art in Taitung. When they showed their work, they’d look at the spectator slowly and sincerely, but seemed to see no one. 

《Two boys that are not friends hang out together 

兩個不是朋友的男孩一起出去玩》

78.7 * 54.5, 2020, oil pastel / charcoal 

《Until I leave my house I will be able to tell you what I have been waiting for whole life to tell 

離開家就可以說我等一輩子要說的話》

78.7 * 54.5, 2020, oil pastel / charcoal 

English Translation:


While drawing, I search for the holes on the human body from where excretions flow out. And I use my sense of smell to detect these holes. So, when I open my mouth, I only ask those questions that I would often stop myself from speaking because what I would say is irrelevant. Just like a fly, I follow the scent without choice. In everyone’s mind there lives gloomy sage, and for me all the things those minds experience as scary, evil, weird, and unexpected are arranged by that sage. I want to befriend that sage, who commands the currents of these fluids from within.

《Half-strangers flirt in the hot spring

在溫泉裡調情的陌生男女》

104*76 cm, 2020, oil pastel / charcoal 

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