隱喻之物與地方身體─南方三港創作計畫

此次創作計畫是以城市作為對象來進行，在不同城市的差異空間中，我將自製物件當作一種媒介，去探索各個環境場域裡的特殊性格，並藉由物件對於身體的改變，在城市中誘發出一種「空間–事件」。最終成果是以錄像的方式呈現，共拍攝了三支關於三個城市的影片，分別為高雄《三角桌》、台南《八角圓》與台北《莫名×綻放》。影片中我將物件的操作擴張為一種對地方進行介入的姿態，指引出一種屬於身體與空間、個體與地域之間的經驗圖式的新連結關係。

而此次創作過程中，在我實地面對每個不同城市時，因其歷史發展脈絡的差異以及城市回應給創作者的感受都無法同一而論，於是調整了原訂創作計畫中以南方三個「港口」為對象的作法，改成直接以三個「城市」為對象，並就不同城市的特殊空間紋理來進行創作。也因為與在地空間場地協調的問題，使得原訂的高雄、台南、嘉義三城，最後調整為高雄、台南、台北三城。

三件錄像作品的創作自述

《八角圓》

台南，古老的時間藏在城市的巷子裡，一層一層疊出了厚度。在歷史中沿用的舊地名、座落在歷史裡不動的老廟宇，皆隱約透露著它不同歲月的面貌。走在一條「時空交疊的路線」，那是一段底下曾是繁華水路的五條港河道，清領時期的台灣威尼斯，河道如五隻手指般橫亙在府城西側，媒合了海陸。百年前逐漸淤積後，經日治時期都市規劃，當年的水路如今已不復見，多數重新建設成為房舍。但，有兩條成了巷弄！

府城的「聯境」系統則是另一獨特的歷史，它以寺廟為主體勾勒出一道道無形的邊界，成為民間防衛的基本結構。其中「三協境」即由風神廟、南沙宮、金華府、藥王廟，四間廟宇負責聯防「南勢港」與「南河港」區域。正好，這兩條港道，就是當年水路成為今日巷弄的交疊之路。而我在這時空交疊處，製作了一個「八角呼拉圈」，微微搖晃著閃亮；滄海桑田後，再現曾經的波光粼粼。

Octagonal Circle

Tainan, where the ancient time is hidden in the alleys of the city and the layers of time have created a depth, has old toponyms passed on to generations and old temples sitting in the history, showing the miens of Tainan in different years.

The city is constructing upon "a road crossed with times" , which is a once-prosperous-waterway with five watercourses. The "Taiwanese Venice" during the Qing dynasty had its watercourses lay on the western side of the prefecture like five fingers that merged the ocean and the land. As the watercourses were slowly silted up 100 years ago, they were included in the urban planning during the Japanese domination. The watercourses can therefore no longer be seen and are redeveloped into residential area. However, two of them have become alleys!

The "union territory" system of Tainan is another extinguishing history. Having temples as the main part, it has outlined invisible borders after borders as the fundamental civil defense structure. Among them, the "San-shye Territory" was formed by Wind God Temple, Nan-Sha Temple, Jin-Hua Temple and Yao-Wang Temple, totally four temples that guard the areas of Nanshi Port and Nanhe Port.

As the matter of fact, these two waterways have crossed over with the watercourses of that year. And here I have, in this area crossed with times and space, created an "octagonal hula hoop" that lightly sways and shines: as seas change into mulberry fields and mulberry fields into seas, it has once again shown the sparkling beauty.

《三角桌》

高雄「弔詭」的空間，是個由多種幾何造型所堆疊成的建築體，在一樓入口處便以玻璃大斜面，透明的切出了序曲。在如此特殊的空間裡，我建構出一個新平面，以一個更幾何詭異的「等腰三角乒乓球桌」，傾斜著，呼應著它。

在這新平面上，我試著觀察身體在看似熟悉卻又陌生的物件前，如何發展出一套新的技術來面對。尤其當身體開始運動時，因傾斜三角桌的關係，運動的身體勢必將改變原有的運動形式；它得在既定規則外、在乒乓球迎面而來時，重新發明回擊的姿勢。

Triangle Table

Crane Gallery is a space full of geometric shapes. At the entrance on the ground floor, a huge piece of glass separates the space with angle and creates the overture for the perception of the gallery space. Therefore, I make a new division – an arbitrary isosceles triangle ping-pong table that is slanting responds to the glass also the space.

In front of this new platform (of ping-pong table), I observe how a body responding to this familiar yet strange object especially when the body starts to exercise since it must alter the conventional movement for the crooked triangle table. The body has to invent a new gesture for striking the ping-pong beyond the ordinary rules.

《莫名×綻放》

寶藏巖，一個迷宮，一個依地形結構不斷變形的複合聚落。每個看似不符合邏輯的「多邊不等邊柱狀」空間，都被置放∕切割∕拼湊的「剛剛好」。剛剛好互相牽制、剛剛好相互依靠、剛剛好共生並存、剛剛好屹立不搖。

放眼斜坡、樓梯、平台、草皮、閣樓；奇怪的角度、奇怪的長度、奇怪的寬度、奇怪的高度、奇怪的表面。方向錯亂、空間亂竄、無盡伸展、佈滿張力，一不小心她就被這些莫名的力量、事件、物件鑲嵌成一個不規則「結晶體」，在綻放的瞬間凝結，堅固又恆久。

這種場景要不出現在歷史的時空記憶中，要不就在夢裡。但她卻出現在我面前！於是我試著讓自己捲入其中，跟隨她的節奏、她的姿態，依循不符合邏輯的邏輯生長。當物件開始變形，張力達到臨界的平衡，身體–運動被置放在奇特角落，我們都將成為新的事件繼續鑲入這寶藏結晶中。

Blooming without Reasons

Treasure hill is a multi-layered, labyrinthine settlement, in continual and symbiotic evolution with its location. Its irregular polygonal surfaces appear extremely illogical, yet each one is situated, divided and configured in exactly the right position. This presents a stable structure, composed by dynamic counterbalancing, and interconnected elements.

As you look at every incline, every step, platform, lawn and garret, you see strange angles, lengths, breadths, heights and surfaces. These structures stretch and spread outward in infinite chaos and tension. A serendipity of forces, events and elements have crystallised Treasure Hill into this irregular gem, that will now remain for eternity as a crucible of the history of its creation.

This scene might only appear in a dream, and yet I find myself here every day, living within it. I have tried to immerse myself, to dance to its rhythm, observe its posturing, and to grow according to its illogical logic.

Transformation begins when tension reaches a tipping point, and both body and motion find themselves in unusual corners. Through our presence and our actions, we will all become new events, embedded within this precious crystal.