未來即是過去－尋找神靈之路 The Future is the Past – The Path to the Ancestral Spirits

2026，刺繡於構樹樹皮，寬50cm，直徑約350cm (展開長度約1000cm)，馬達裝置
參展於2026年雪梨雙年展，新南威爾斯美術館。
Embroidery on paper mulberry bark, 50 cm wide, approximately 350 cm in diameter (unrolled length approximately 1,000 cm), Motor assembly. At Art Gallery of New South Wales, in biennale of Sydney 2026.

排灣族語「vuvu」是稱幼小的兒孫，爺奶輩也稱為vuvu。重要的祭典「masalut」其含義既是一年的開始也是一年的結束。前述字詞可一窺排灣族對生命循環的宇宙觀。藝術家在強勢漢文化育成的背景下，被城市圈養的身體如何面對母體文化的斷裂？試著在原生但陌生的語言裡去感受何謂萬物有靈，以台灣原生種構樹的樹皮乘載一個尋路的進程，在樹皮上繡上九段排灣族基礎經文，借用巫師文化裡療癒的功能去繡補空缺的歷史；除了佐證南島語系遷徙路徑源頭的構樹，在阿美族語是“ lolang”，而字根lolol有回復、歸還、改造之意，也對應排灣族語「nutjaivililj」的字義：「未來即是過去」。

In the Paiwan language, "vuvu" refers to both young grandchildren and grandparents. The significant festival "masalut" signifies both the beginning and the end of a year. These terms offer a glimpse into the Paiwan people's cosmological view of life's cyclical nature. 

How does an artist, nurtured in the dominant Han culture and confined within urban landscapes, confront the rupture from their mother culture? In an attempt to reconnect, she seek to experience animism through a native yet unfamiliar language. Using the bark of Taiwan’s indigenous paper mulberry tree as a medium, the artist embarks on a journey of rediscovery, embroidering nine foundational Paiwan scriptures onto the bark. This act borrows from the healing traditions of shamanic culture, symbolically mending the gaps in history.  

Beyond its role as evidence of the Austronesian migration route, the paper mulberry tree is known as "lolang" in the Amis language, with the root word "lolol" signifying restoration, return, and transformation. This resonates with the meaning of the Paiwan term "nutjaivililj": "The future is the past."

特別感謝駐澳大利亞台北經濟文化代表處支持。
Special thanks to Taipei Economic and Cultural Office in Australia for their support.

蝸牛樂園協奏曲－Santa Fe篇 Snail Paradise Concerto - Chapter of Santa Fe

2025，鋁結構（由雅思敏．諾瓦克製作）400x100x50cm，構樹皮，文獻轉印，刺繡
Aluminium structure ( by Jasmine Novak in Santa Fe) 157.4 × 39.4 × 19.7in, Paper mulberry bark, document transfer, embroidery. Artwork commissioned by NTMFA

源自東非並列為世界百大入侵種的非洲大蝸牛，成為藝術家探索世界的介面；台灣原生種構樹與蝸牛黏液有消解關係，它們分別描繪了物種傳播與人類遷徙的航線，而我在這交錯的網絡裡與吟遊詩人一同漫遊，尋找遺緒者一同協奏序曲，亦或續曲。
The African giant snail, originating from East Africa and ranked among the world’s top 100 invasive species, serves as a medium for the artist to explore the world. Taiwan’s native species paper mulberry and snail mucus have a dissolving relationship, they each depict the routes of species dispersion and human migration. In this intertwined network, I wander with bards, searching for the colonial trauma bearers to play the overture, or perhaps the sequel, together.

從lima到pulima From lima to pulima

2025，礦泥色料於構樹皮，28x785cm
Mineral pigment on paper mulberry bark, 28x785cm
Artwork commissioned by Hong-gah Museum

在南島語系中，「5」這個數字常以 lima 表達。在排灣族語裡「pu」表示「擁有」，pulima 便意指「擁有許多手的人」，引申為「巧手善於工藝之人」，如今更成為「藝術家」的代稱；世界各地遠古壁畫中常見的手印群，彷彿在視覺上與此概念產生了某種呼應。構樹製作的樹皮布，是太平洋南島民族重要的物質文化之一。科學家透過其 DNA 系譜分析，為「南島語系源於台灣」這一跨領域假說提供了有力佐證。在阿美族語中構樹被稱為 lolang，而其字根 lolol 含有「回復、歸還、再造」之意。我們或許難以完全理解與想像遠古南島民族橫跨萬里大洋的遷徙歷程，以樹皮乘載一個探路的旅程，如航行者的古老圖卷，記錄著手的軌跡與意志，引領我們向尚未命名之地前行。

Within the Austronesian language family, the number “five” is often expressed as lima. In the Paiwan language, “pu” signifies “to possess”; thus pulima denotes “one possessing many hands”, extending to mean “a person skilled in craftsmanship”, it has evolved into a synonym for “artist” now. The clusters of handprints frequently found in ancient rock art worldwide seem to visually resonate with this very concept. Bark cloth woven from paper mulberry constitutes a vital material culture among Pacific Austronesian peoples. Through DNA genealogical analysis, scientists have provided compelling evidence supporting the interdisciplinary hypothesis that ‘the Austronesian languages originated in Taiwan.’ In the Amis language, paper mulberry is termed lolang, its root lolol carrying connotations of ‘restoration, return, and rebirth.’ We may struggle to fully comprehend or imagine the ancient Austronesian peoples' transoceanic migrations spanning vast seas. Using bark as a vessel for a pioneering journey, like an ancient navigator's scroll, it records the traces and will of hands, guiding us towards unnamed lands yet to be discovered.