1962 年出生於花蓮 Makota’ay 港口部落，現專職創作。
二十多年來，不斷地反省和探索自己的思緒，沉澱與累積創作能量。作品多蘊含海洋文化特質與部落傳統精神，從採集神話故事、口述歷史和舊部落遺跡開始，重新學習部落的智慧，多次帶領部落族人參與國內外藝術展出及創作發表。
他無數次行走於海岸，撿拾充滿生命和記憶的自然材質，與海岸邊隨處可見的現代過剩產物作為材料，以淬練後的雕塑線條和精準的語彙，傳達對全球化課題的環境思維辯證，探討族群結構瓦解及大社會變遷的現狀。拉黑子透過自身的行為及藝術創作，引發觀者的自我省思，一路走來，他已從文化詮釋的社會性批判、思索、重省、再現等可能，邁向對藝術本質純粹性的探索。
於 2000 年獲亞洲文化協會(ACC)獎助前往美國紐約進修學習當代藝術，2014 年國立海洋科技博物館將他列為海洋文化之代表藝術家。重要作品包括，從源頭感受存在的《現代集會所》(1993) 和《末始》(1999);深切關注如何重新凝聚部落意識的《歸零》(2000);代表部落精神與傳統祭祀儀式力量的《站立之舞》(2005);在空間的輕盈及時間的速度上探討微弱，卻具生命力量的《殘》(2007)。
近十年來拉黑子陸續提出與海洋、島嶼有著密切關連的計畫，不只延續了他長年關注的族群文化議題，亦擴及將環境生態的問題含括進來，包括在藝術創作上的代表計畫為「颱風計畫」(2008-2013)、「五十步的空間」(2013-2018)、「海 美／沒 館」(2018-2020)。 等，同時透過出版著有〈混濁〉(2006)、〈旅行在 50 步的空間〉(2019)等書，紀錄所觀察到的文化環境變遷，及他站立在如此特殊文化時空角色上的哲學思辨。
更多藝術家動態 https://www.facebook.com/rahictalif/
Rahic Talif was born into the Amis Makota’ay village of Hualien in 1962. He is a professional artist who works in the fields of wood sculpture, installation art, performance art, architecture, furniture, reworking tribal culture, indigenous society and culture etc. As a result of the tribal age hierarchy he has served in the position of mama-no-kapah (father of youth), in which capacity he has been responsible for guiding young people, organizing and managing the entire tribe. From his collection of tribal myths, oral histories and visits to old tribal sites, Rahic has sought to relearn tribal wisdom and helped tribal members participate in art exhibitions at home and abroad, as well create public art works.
For more than two decades, Rahic has reflected on and explored his own ideas, as a result of which he developed a very distinctive creative energy. This has involved using driftwood imbued with life and memories as his main medium and creating pieces that depart from the generally received understanding of aboriginal art. Many of Rahic’s works reference aspects of ocean culture and traditional tribal spirit. He has also proved particularly adept at installation art that makes use of honed sculpted lines and precise language to convey environmental dialectical thinking on the issue of globalization, as he discusses the collapse of communal structure and major social change, encouraging viewers to reflect on such issues through his own actions and art. In 2000, Rahic received a grant from the Asian Cultural Council to attend art activities in the US. In 2014, he was designated an ocean culture artist by the National Museum of Marine science and Technology. His main works include “Modern Meeting Room"1993, “Ending and Beginning"1999, “Return-to-Zero"2000, “The Dance of Standing" 2005, “Incomplete" 2007, “Action Project for Typhoon"2008-2013, “The Space of Fifty Steps"2013- , and he has written “Turbid.”2006, “Journey in the space of 50 steps.”2019.
During his artistic career Rahic has moved from a focus on the possibilities inherent in social criticism, ideas, reflection and re-presentation of cultural interpretation, to an exploration of the essential purity of art.
Facebook fan page https://www.facebook.com/rahictalif/
花蓮阿美族港口部落出身で、現在は専門的に創作を行っている。主に木の彫刻、装置、行為、建築、家具、部落文化の再生、先住民社会文化評論等といった領域で活躍しており、国内外の芸術展、公共芸術創作にも多数参加している。作品は主に海洋文化の特質と部落の伝統要素を含んでおり、洗練された彫刻のラインと正確な語彙で、グローバル問題に対して質問を投げかけており、更には民族間構造の瓦解、社会環境の移ろい、それらの現状に対して、自分の行為と芸術作品を使い、参観者の自己反省の気持ちを引き出している。
拉黑子‧達立夫 Rahic Talif 