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.