如何達到平衡 How to Get Balance

Media｜ Spatial installation (three-component soil floor, prosthetics statue, wrought iron art, leather carving with special images and embroidery, a table with only three legs, double-channel video)

Size ｜Dimensions variable（L825 X W420 cm）| 7min

媒材｜空間裝置（三合土地板、義肢雕塑、鐵雕、影像皮、只有三隻腳的桌子、雙頻錄像）

尺寸｜依場地而定（420X825 cm）| 7min

“How is a three-legged dog going to rebalance in the world? ” 

A three-legged dog, as an imaginary block of absence, is deployed in the spatial field by transforming the real experience of the Hualien-Taitung arts residency into a symbolic element. The three-legged dog tracks around in the form of a trace in the venue after entering the perceptual maze of the installation context, linking the symbols individually and inviting the viewer to actively weave their own imagination. 

The artist’s internal emotional projection touches the suspension of the aesthetics of trap and trauma, while the external metaphor of the existing social structure and ideology in the Austronesian humanistic context is neither the existential reality of the indigenous tribes nor the compassionate ecological moral consumption of the civilized society. Instead, it is the oscillation between the two, between visual form and content, between the work and the viewer, between human and non-human, where art is transformed from “real experience” to “empirical reality” to express the fact of art’s own sensibility. 

A. This was originally conceived in 2021 when I was doing my arts residency in Hualien-Taitung. I saw several three-legged dogs on the road but later realized that they were trapped.  Aboriginal people have to put traps to prevent damage to their crops in order to survive, while wounded dogs are often their loyal hunting companions.

B. Using the image of the three-legged dog, I had a psychic communication with the animal communicator and asked the same questions. The communicator said that the animal does not have the concept of “self”, and it is only a flesh wound for the dog, as it has only the animal instinct of pain and no psychological level of reflexivity. 

C. The color and smell of sulfur emitted by the prosthetic sculpture have a visual healing psychological effect and sense of warmth.

D. The table embedded in the wall is a corner of the pedestal before entering the exhibition venue, and the visitors can be aware of the mutual interference between the three-legged table and the injured three-legged dog.

「三隻腳的狗要如何在世界上重新平衡？」 

三腳狗作為不在場的想像團塊，以花東駐村真實經驗轉換為符號元素進行空間場域的部署，展場裡以軌跡(trace)形式，進入裝置情境的感性迷陣去追蹤環繞，符號間各自連結，邀請觀者主動編織自身的想像。 

以藝術家內部的情感投射觸及陷阱與創傷美學的懸置性，外部隱喻既有的社會結構、意識形態，在南島人文脈絡裡，既非原民部落的生存現實，也不是文明社會憐憫生態的道德消費，而正是介於兩者間迂迴擺盪，在視覺形式與內容，作品與觀者，人與非人之間，藝術在此從「真實的經驗」轉化成「經驗的真實」，並從中表達出藝術自身感性的事實。 

A.最初發想於2021年花東駐村時，在路上看到數隻三腳的狗，後來才知道牠們是中了陷阱，原住民為生存不得不放捕獸夾防範農作物被破壞，受傷的狗往往是忠誠的獵犬夥伴。 

B.藉由三腳狗的影像，與動物溝通師進行通靈，以同樣的問題詢問，溝通師表示動物沒有「自我」的概念，對狗而言只是皮肉傷，只有動物本能的疼痛，沒有心理層次的反身性。 

C. 硫磺色與義肢雕塑散發的硫磺味，視覺上有療癒的心理效果以及溫度。

D.展場安置的桌子坎在牆面是進展場前的基座一隅，此時觀者意識到只有三隻腳的桌子與受傷的三腳狗相互指涉。