Bio 經歷

1991-2000

回到部落,承載族群的躁動不安,焦慮正在被割裂而可能再難追回的自身歷史,深刻察覺傳統正在快速流失的時間壓力,遂而奔投於溯源,從傳統的器物形制抽取線條語彙,並以母體文化為再現對象的創作表現,同時涉足木雕與行為藝術等領域,後以「末始」系列創作作為階段性的結束與開始。

On returning to the tribe Rahic felt keenly the unease of the tribe over connection to a ruptured history it could be impossible to retrieve. He observed the pressure caused by the speed at which tradition was being lost and this led to his decision to trace that culture back to its roots. To that end, Rahic used the language of lines from traditional vessels and his mother culture as a focus for artistic expression, while simultaneously embracing wood sculpture and performance art. The later “Ending and Beginning" series marked both a temporary end and new start.

2000-2005

重新錨校定位,尋塑既承襲傳統精神又屬於當代的線條、語彙,及至於自身回應古今的姿態與位置。在族群文化的保存上,透過數次駐村、駐地創作、大型委託創作的機會,帶領族人經由創作的路徑回探自身的族群處境。同一時期拉黑子所採用的抽象雕塑線條,打破了一般大眾對於「原住民藝術」的刻板印象,同時引發對於「什麼是原住民藝術」的深層討論。

Rahic seeks to reposition, trace and carry forward the spirit of tradition through lines and language that are also modern, utilizing his own response to past to the present. In terms of preserving tribal culture, he has been a resident artist in several villages where he has created art and sought out creative opportunities, leading members of the tribe on an exploration of their own circumstances through art. At the same time, the abstract sculpture lines used by Rahic represent a departure from the stereotypical view of “indigenous art,” and as such encourage debate as to “what is indigenous art?”

2006-2007

從海洋、山裡或部落觀察有關聯性的物體,開始做解構的動作,重新解讀部落的整個文化架構,包含年齡階級、政治結構……等並將文化隱喻置換為創作手法,轉換運用於作品中的符號語彙,較具代表性的諸如雕塑作品的榫接結構、木紋撕裂、月光螺……等母體文化符碼。在個人創作上則推出「殘」系列作品,同時出版混合阿美族語與中文的散文〈混濁〉一書,作為個人創作上再一次的折返。

Having observed ocean, mountain and tribe related objects Rahic starts to engage in deconstructive action, reinterpreting the cultural framework in which the tribe exists, including the age set organization, political structure etc. He then takes cultural allusions and transforms them into creative methods and the semiotic language employed in his works. Perhaps the best examples of this are the mortise structure used in sculptures, ruptured wooden patterns, and the toko (giant ramshorn snail). In the Ponal (Incomplete) series Rahic published “Turbid”, a combination of Amis and Mandarin Chinese languages, which represents yet another shift in his creative direction.

2008-2012

以「颱風計畫」為創作出發,進行為期五年的漂流拖鞋撿拾,透過現成物的連結,回應南島文化的物質轉變與大社會之間的緊密因果。試圖突破文化背景的藩籬,運用更足以讓主流文化產生共感的語彙,涉入深層的族群精神,並由此揉練出跨文化的理解,從中萃取共同的感知取向,諸如環境的困境與意識、消費社會的急切與過度、對人性的關注、對自身心靈的探索等等。

Action Project for Typhoon marked a creative starting point for the five year period in which Rahic picked up flip-flops lost and drifting on the water. This connection with finished products corresponds to the material transformation of Austronesian culture and the cause and effect outcome of the relationship to wider society. This project was also an attempt to break away from the barriers of cultural background and use language with which mainstream culture could empathize, thereby accessing the spiritual essence of tribal culture, facilitating cross cultural understanding and a shared outlook. For example, environmental problems and awareness, the urgency and excesses of consumer society, a focus on human nature, exploration of one’s own spirit etc.

2013-2016

颱風計畫利用由海岸邊拾回的無主拖鞋進行多次重複的重組與拆解,歷經五年的展覽與發表後,再重新理解,發現颱風所颳起的紛飛不過是一次又一次表相的張狂,在隨風打散的原子逐漸落地之時,反而如同進行著更深層的隱爆。這些曾經隨著強風與激流震盪的歷史、文化,以及自我的碎片,在落地之時狀似無意識的聚合,卻集結了一股正面迎向現實的加速度,以太平洋為觸媒,創作轉而指向──「五十步的空間」。

Action Project for Typhoon made use of discarded flip-flops found on the coast to engage in repeated reconstruction and deconstruction. After five years of exhibitions, the new understanding reached was that finding things blown apart by a typhoon, represents merely one instance after another aggressive act of superficiality and that as the atoms rent asunder by a typhoon gradually come to rest a deeper implosion might be approaching. When the fragments of history, culture and self, torn apart by strong winds and currents fell to earth they seemed to come together almost unconsciously, accelerating a more positive approach to facing reality and with the Pacific Ocean as a catalyst Rahic moved on to The Space of Fifty Steps.

 

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