〈Masonol 漂流〉
2020，構樹皮、木、海廢魚線、布線、油性簽字筆，53×47cm(左) 56×63×8cm(中) 56×47cm(右)
「漂流」說來是個帶點被動的詞彙，在太平洋上，卻是成就一場華麗生命的「遠征」。以一顆種子而言，它不會知道，自己將遇上哪一道洋流、帶它去什麼地方。過程中，它必須戰勝很多來自於內在的抗拒，小心翼翼的收拾自己的支離破碎，才能推進到那個足以落地的臨界點。這顆種子或許就長成了一棵樹吧？多年以後，它的樹幹被一個遠方的族人擷取了一段，敲打成布，它的身體在一次次的重擊之中，不斷的擴張著，彷彿那段沒有盡頭的海洋經驗浸潤了種子的基因，重新編寫了它與邊界的關係，成為一個可以無限擴張的生命。
海洋的延伸想像以及來自野地自然材質的運用，一直是拉黑子從事創作以來影響至深也賜予他最多的。三件作品之中，他以事物的本源灌溉，自身部族的神話傳說帶入，將傳說故事作為背景並與他的精神世界及視野共同詮釋串聯。
〈Masonol Drifting〉
2020，Tree bark, wood, marine debris : fishing line, wiring, permanent marker, 53×47cm(Left) 56×63×8cm(middle) 56×47cm(right)
“Drifting” is a term with a passive connotation, but in the Pacific Ocean, it contains the meaning of an “expedition” of gorgeous life. A seed is not aware of which ocean current it will encounter and where it will be taken. In the process, the seed must overcome internal resistance and carefully tidy up its fragmentation before it can take forward to the tipping point. Maybe this seed has grown into a tree? Years later, a section of tree’s trunk was taken by a tribe from afar and beaten into cloth. Its body continued to expand with repeated thumps, as if that endless experience in the ocean infiltrated the seed’s genes, rewritten its relationship with boundaries, thus turning it into a living being of limitless expansion.
The extended imagination of the ocean and the use of natural materials from the wild have always been the most influential and bestowed to Rahic since the days he started creating. In the three artworks, he employs the origins of things, incorporates the myths and legends of his tribe, and couples storytelling in the background with his spiritual world and vision.
〈牆 II〉2015，木 ，456×270×175cm
望向看太平洋，很難不發現更有一整排由消波塊組成的牆。大自然從來不是一道牆可以阻擋的，未曾止息的浪濤不斷的掏走消波塊下方的沙，於是人們每年不停的往海岸邊投放更多的消波塊，久而久之，消波塊綿延的畫面成了一種人為的壯碩景觀，與未來不得不接受的既存美感，卻不會再是過去我們所見到的太平洋。
這樣一道牆所分隔的並不只是陸地與海洋，更阻絕了一個覆載了記憶與想像力的口傳世界，在牆的另一端，傳統的文化與記憶被刻意的排除與遺忘。
〈Wall II〉2015，wood ，456×270×175cm
Looking at the Pacific Ocean, it is not that hard to find a whole row of walls composed of wave absorbing blocks. It is impossible to block nature by a wall. The unstoppable waves continuously wash out the sand below the wave breaker blocks, so people keep throwing more blocks at the coast every year. Over time, these blocks will turn into an artificial landscape that we have to accept as beautiful and forget the view of the Pacific Ocean as it used to be.
Such a wall separates not only land and sea, but it also blocks a world full of memories and imagination. Traditional culture and memories are deliberately excluded and forgotten at the other end of the wall.
展覽介紹 （節錄）
【土字旁‧人字邊 Close to Nature, Next to Humanity】
「時間和空間中的一切都在縮小。……人類在最短的時間內走過了最漫長的路程。人類把最大的距離拋在後面，從而以最小的距離把一切帶到自己面前。」
－馬丁．海德格爾（Martin Heidegger，1889–1976）
二十一世紀的我們正是身處在物換星移、日新月異的時代中，凡事都講求創新與進步，速度已快到逐漸地遺忘駐足諦聽所在空間之美好，所處環境之重要，進而享受著「人造」所帶來的便利性與虛實感，不僅成為人類賴以為生、不可或缺的一員，也如一顆毒蘋果具有難以抵抗的魔力促使人類順勢而從，甚至慾望叢生。然而，縮短時代距離的背後同時也蘊含著無形的代價，環境的變遷、物種的消逝、瘟疫的肆虐，甚至人性的貪婪，當共處環境動盪不安、失去平衡，抑或逐漸消逝，有朝一日自然的力量將會帶人類回到原點。
完整策展論述文章 請點選 https://reurl.cc/yvKgpl
▲ 展覽日期 Duration：2020.09.12(Sat.)–11.01(Sun.)
▲ 展覽講座 Artist Talk：2020.10.18(Sun.) 14:30 pm
▲ 展覽地點 Venue：臺東美術館 Taitung Art Museum
▲開放時間 Time：週二-週日09:00~17:00(每周一、中秋節10/1、國慶日10/10休館)
拉黑子‧達立夫 Rahic Talif 