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​孤鳥

A bird that homeless.

30x62.5cm、30x104.7cm、30x169cm (不含框) / 攝影藝術微噴-紙基珍珠面相紙 / 2020

C-print on Fine Art Pearl Paper / 30 x 62.5 cm, 30 x 104.7 cm, 30 x 169 cm (without frame) / 2020

怜禎01圖錄.jpg

我像荒漠裡的鴞鳥,

像遼遠曠裏的小鴞鳥。

我躺著,無法成眠,

我形單影隻,如屋頂上的孤鳥。


詩102:6

怜禎003.jpg

我巴不得像鴿子那樣擁有一雙翅膀,

可以飛離此地,得以安歇!

我願遠走高飛,飛往寧靜的曠野。

我要全速飛離,遠離這充滿敵意的狂風暴雨。

 

詩55:6

怜禎002.jpg

不要害怕,你不會再活在恥辱中;

不要恐懼,你不會再受羞辱。

你不會再記起年輕時的恥辱,

你要永遠忘卻寡居時的悲傷。

賽54:4

這件作品以展開的森林家園圖像作為主要的元素。住家社區裡依附於建築表面的彩繪圖像凸顯出住家環境想要快速、顯著的美化而形成的一幅幅城市景象,描繪著人們想像的動物生活、風光景致與人們生活的樣貌,然而這些圖像既是想像圖像,卻也是人們期望中的美好圖景。

 

作品延續我自身關注的歸屬感問題,以觀看這些動物圖像時的被排除感著手,圖片下述的文字則是擷取自《聖經》中敘述無所歸屬、無依無靠的字句,回應著既無法在動物的家園中找到歸屬,卻在圖像依附的人類建築中也無法找到自我的歸屬。

 

三幅圖像以左至右帶著延續的敘事,回應找尋歸屬的期望。

​攝影紀錄感謝:丘智偉

 

Unfolded image of the forest homeland is the primary element of this work. These painting images attached on the surfaces of architectures in household community which highlight city scenes that demand rapidly and apparently beautify process. They painted lives of animals that people imagine, landscapes and ways of people living. These images came from imagination, however, they are images of happiness that people expected.

 

The work continuing focus on the sense of belonging that I concerned. Stick on to the sense of exclusion when watching at these animal images. Sentences below were coming out of The holy-Bible which they described about no where to belong and nothing to depend on. These sentences responding to the images of animals’ homeland where I could not belong to, but also no where to be found in human architectures which these images attached on.

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