在前一階段圍繞於自身記憶的作品之後,我延續對於語言符號的關注,以纖維編織代替書寫,試圖探索文字的結構與律動之美以及語言的未竟之處。隨機且帶著書寫意味的縫繡鉤編、奠基於數理結構上的梭織, 具有承載包覆性的樹皮布與抄紙以及日常生活裡的各種現成物,是這階段最常被使用的材質與表現技術。

纖維創作對我來說,是一種書寫,書寫言語所不及、不能、不知之處。它是一個連接詞,連接我與歷史、與物質、與文學、與生活、與人….的關係。通過這些傳統的技術、格物致知的過程、形式語言的建立,表面上似乎充滿了難以擺脫的符碼與象徵、傳統與現實的包袱,實則這正是它模糊拉鋸、充滿曖昧與張力、可以雋永玩味之處。

中國文字從象形指事等造字法創造再轉化,是視覺的圖像也是線性的結構。在我的作品裡,編織以自身的結構與時間性,倣效文字的形態,又想脫離文字的枷鎖,找到自己飛翔的語言。書寫的行為在意識與潛意識之間交織,在確定與不確定之間徘徊;你害怕語言的不完整、曖昧與歧異;也害怕它太過淺白、清楚、失去彈性;你害怕你寫下的東西深鎖樓閣、知音難覓;也害怕它流竄世間卻無力自衛;它寄居在一個完整的結構體當中,但你又忍不住去鬆動它,從而創造出詩般的透明與撲朔。用纖維來書寫對我來說正一種慾望,一種遊戲,也是一種逃避。


Weilin’s background in Chinese Literature renders a poetic feel to her artworks, as if weaving is writing in progress. Deeply fascinated by linear structures and various materials, she looks at cultures and histories from these physical aspects. Her works are manually constructed, complicated forms of layers, osmosis, beatings and interweaving – they respond to an intricate world, reeling in its clamour and confusion, and containing them in the order of warp and weft. When making art, she uses readymade objects in life, commenting on cultural implications of a material as well as giving it a brand new context.

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