植物誌轉印術-給離鄉族人的備忘錄 Ethnoplants Transfer Printing- a memorandum a memorandum for distant clansmen

 

圖片提供森川里海藝術季 photo by Mipaliw land art

2024，木材、石膏板，350x180cmx60cm 

參展於「2024森川里海藝術季－銜接」，圖片提供森川里海藝術季

追朔「備忘錄」拉丁語字源 memoro所形成的動名詞，意為「應該被記住的」。阿美族語 mi 為「拿取」的驅動詞，也是生命與生存的原始驅動，不論是在原鄉採集與傳統文化慣習有關的實用植物，或是都市原住民收集廢板材在城市邊陲建構生存空間，將兩者生活經驗做一個造型結合；拓印植物就像遠古壁畫或化石留存，廢板材經歷使用與歲月痕跡呈現生命力，將此集合物置於自然林間讓陽光灑落呈現光點斑塊，藉此進行一個記憶的行為。備忘錄 (MOU) 也是各方採取行動的協議，透過補遺兩端的動作去演示生態豐富島嶼的當代史。

2025, discarded wood, plasterboard, 350x180cmx60cm.

At " 2024 Mipaliw land art - articulation ", Fakong village, Fengbin Township, Hualien, Taiwan.  (photo by Mipaliw land art)

Tracing back the Latin root of "memorandum," memoro is a verbal noun meaning "something that should be remembered." In the Amis language. "mi" is a verb meaning "to take" and also represents the primal drive for life and survival; whether it's gathering useful plants tied to traditional cultural practices in the indigenous homeland, or urban Indigenous peoples collecting discarded wood to build survival spaces on the outskirts of cities, this piece merges both life experiences into a singular form. The plant imprints resemble ancient cave paintings or preserved fossils, while the discarded wood bears the marks of use and time, reflecting vitality. This assemblage is placed in the natural forest where sunlight filters through, creating patches of light, engaging in an act of memory. A memorandum (MOU) also signifies an agreement for action between parties. By attempting to bridge the gaps, this work seeks to reenact the contemporary history of an ecologically rich island in Taiwan.

笆札筏的大洪水 The Great Deluge: Oral History from Pacavalj

攝影朱軒志 Photo by Hsuan-Chi Chu 

Artwork commissioned by 2024 Taipei Dangdai and the Ministry of Culture (Taiwan).

2024，十字繡於棉布上，12 cm x 1500cm 
族語翻譯（羅馬拼音）：張美瑛, 潘世珍
2024, Cross-stitch on cotton cloth, 12 cm x 1500 cm
Paiwan language translation ( Romanization System): Karui Tjuljaviya, Saivi Langalj 

遇上大浩劫爾後倖存的人們如何記錄經歷？且沒有文字的原住民族似乎僅能以口傳去延續這段歷史記憶。刺繡的上的羅馬拼音敘事，採自1935年小川尚義、淺井惠倫以萬國發音記號、日語對照的合著《原語による臺灣高砂族傳說集（原語實錄臺灣高砂族傳說集）》，其中一篇採集自Pacavalj（現台東大武鄉大鳥村）的傳說；內容大略是一對兄妹在遭遇大洪水滅村之後努力活下來並以亂倫婚姻來延續後代，從近親生產出殘缺的子孫，慢慢到幾世代後漸漸形成一個正常人類的聚落，也是部落的起源。刺繡卷軸裡使用難以理解的字符，鏡像去呈現這世界不斷重演的歷史。

How would the survivors record their experiences after a great catastrophe? For indigenous peoples without a written language, oral tradition seems to be the only way to pass down this historical memory. The Romanization System narrative in the embroidery is derived from the 1935 collaborative work "A Collection of Formosan Aboriginal Folktales in the Original Language" by Shouichi Ogawa and Keirou Asai, which uses an International Phonetic Alphabet and Japanese control. One of the collected stories is a legend from Pacavalj, which tells of a brother and sister who survived a great flood that destroyed their village. They struggled to survive and continued their lineage through an incestuous marriage, initially producing offspring with defects. Over several generations, these descendants gradually formed a normal human settlement, marking the origin of the tribe. The scroll embroidery uses incomprehensible characters in a mirrored fashion to represent the seemingly endlessly repeating history of this world.