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關於 強化玻璃心
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創作無疑是一種自我的反省，作品表達某種問題意識，觀者對於作 品的回饋，甚至是創作過程勢必以一種嚴謹的態度來做檢視。 創作過程中反覆自我認知，心隨著累積而不斷地強化，包裹著自身 的脆弱而變得柔韌，即使受傷也不輕易碎。
To compose is to manifest the revelation of our own fetishes toward an indescribable state, and undoubtedly is an inquiry of self. Compositions that deliver some certain senses of problem, feedback given by the viewers, and also the process of the composting must be reconsidered with conscientiousness and care. Through several times of selfrecognition, we strengthen and soften our fragility to become more malleable and versatile. Wounded, but never fall apart.
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Contents
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關於強化玻璃心 系所介紹 關於實習老師們
A 設計｜規劃 12 - 李昇隆〈光•公園 Sun light • park〉 16 - 林容靚〈生活之間 Between life〉 20 - 温予婕〈街。景 Street。Sight〉 24 - 傅亭菱〈廢棄客運站的再生 _ 幼兒園 Recycling abandoned passenger station_Nursery School〉 28 - 黃媛筠〈Y/ 自宅改建鐵皮屋修車廠 Iron-sheet Factory and Residential Renovation〉 32 - 陳柔竹〈延續計畫 _ 田野 Continuation plan_Field〉 36 - 楊啟佳〈合院博物館 The Museum of Traditional Courtyard Buildings〉 40 - 邱姿華〈An amazing journey in my dream〉 44 - 伍傳萱〈海港城市的未來想像 The fair of Keelung -The imagination of harbor city〉 48 - 陳宣宇〈日常咖啡館 Regular café〉 52 - 洪瑋毅〈你來我往 In & Out〉 56 - 傅森堯〈烏禪島 Wu Chan〉 60 - 劉彥均〈表象下的矛盾 Contradiction Under the Surface〉 64 - 李佳珊〈Prototype : put on or take out ?〉 68 - 王皓仁〈無需塑造 Non-plastic〉
B 錄像｜影像 74 - 蔡詠宇〈致最後一課 The last lesson of my life〉 78 - 陳逸展〈旁觀者 Bystander〉 82 - 李頌恩〈這是耶穌的血 The Blood of Jesus〉 86 - 熊子萱〈對話 Conversation〉 90 - 葉珈妏〈相似形 Oh! Is…!〉 94 - 王敬希〈“Become like water, my friend.”〉 98 - 許嘉軒〈如睡著般 like falling asleep〉 102 - 方謦昀〈彩虹入港 Rainbow Delivery〉 106 - 劉
潔〈里山 Satoyama〉
110 - 廖孜瑀〈“ no content ”〉 114 - 呂君敏〈穢者 Impure〉 118 - 洪逸璇 蕭雅方〈罅隙 A blank page we left in life〉
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C 雕塑｜裝置 124 - 陳博軒〈影像作為一種分割 Image as a kind of Segmentation〉 128 - 李
聿〈れい襪 Reiwa〉
132 - 蔡翎禎〈階段性的熟悉 A sense of getting familiar 〉 136 - 宋依庭〈耳語 Whispers〉 140 - 張家寶〈1. 晚安睡睡 Goodnight〉 〈2. 蓋一座蹺蹺板的可能性 The possibility of building a seesaw〉 〈3. 蓋一座鞦韆的可能性 The possibility of building a swing〉 〈4. 蓋一個家的可能性 The possibility of building a home〉
144 - 孔嘉琳〈不要忘了回家的路 Don't forget the way back home〉 148 - 楊濡瑄〈對等關係 Belence〉
D 繪畫｜動畫 154 - 陳昱恩〈地獄梗 Hellish Gags〉 158 - 劉庭嘉〈剛好路過 just passing by〉 162 - 廖于瑄〈永恆的消逝 The Eternal Elapsing〉 166 - 陳泓瑋〈The infinite Line: the elegy within〉 170 - 陳麒文〈迷惘 Perplexed 〉 174 - 顏怡如〈痕跡 Marks〉 178 - 王曉婷〈在理想之前 Before the ideal〉 182 - 張睿光〈感知 Feeling〉 184 - 盧淑茵〈夢想 Dream〉 190 - 劉宇婷〈木馬 Trojan〉
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強化玻璃心展覽照
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元智大學藝術與設計學系
本系於 2007 年成立「藝術創意與發展學系」，於 2010 年 08 月更名為「藝術與 設計學系」。本系結合藝術、創意與科技，培養學生具有靈活的藝術美學與創意思 考並多向發展，著重於學生的美學知識背景、創意解決問題與實做的能力，使本系 同學 得以在設計及藝術創作的訓練之下發展多元領域。 本系在大一強調「認識與了解自己」，從自身發展創作、學習製作的思維邏輯與設 計路徑來啓蒙創意思想；從大二開始，同學將接觸到各式創作方法和學習自己解決 問題 的能力；大三著重於團隊合作能力；大四投入自己想要專精的領域，除了校 內的指導 教授，也開放了校外實習的機會，透過實際參與各個設計師、藝術家與 老師，獲取重要 的經驗並發揮所長。因此，在大學四年階段的學習後，每位同學 將發展出自我獨特之處 ，在藝術與設計創作領域展現專業及自我風格。
The Department established as “Department of Art Creation and Development” in 2007 and was renamed “Department of Art and Design” in August 2010. Combining art, creativity and technology, the department cultivate students’ ability of flexible artistic aesthetics, creative thinking, and multidirectional development, focusing on the students' aesthetic knowledge background, problem solving with creative and practical ability, to create student can develop diverse fields under the training of art and design. The department emphasizes "knowing and understanding yourself" in the freshman year, enlightens creative ideas from the development of creative thinking and design method of self-development; from the sophomore year, students will be access to various creative methods and learn to solve the problems by themselves; Junior year focus on teamwork; Seniors are investing in areas where they want to specialize. In addition to the instructors in the school, they also open up opportunities for off-campus internships and gain important experience through practical participation of designers, artists and teachers. After graduation, students will develop their characteristics, demonstrate their professional abilities as well as uniqueness in their artworks.
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畢業製作指導老師
陳冠華 系主任
劉辰岫
學歷 / 奧勒岡大學，建築碩士 (1986-1988) 逢甲大學，建築學士 (1978-1981)
學歷 / 英國倫敦帝國學院物理系 德國德勒斯登工業大學 德國馬克斯浦朗克研究院
專長 / 建築設計、建築史、建築理論
專長 / 科技藝術、創作設計
蘇哲甫 兼任教師
曾志偉
學歷 / 台南藝術大學 建築藝術研究所碩士 和墨設計有限公司 主持人
學歷 / SDA 美國國際學校 自然洋行建築工作室創辦 主持人
專長 / 建築設計、室內設計、藝術設計
林楚卿 專任教師
蘇孟鴻
學歷 / 藝術與設計學系副教授 交通大學土木工程學系建築組（博士）
學歷 / 國立台南藝術大學藝術創作理論博士 英國倫敦大學金史密斯學院藝術創作碩士 國立彰化師範大學美術學系
專長 / 自由形體設計、數位建築、數位設 計媒材、電腦繪圖
專長 / 藝術創作（複合媒材、平面繪畫、影像）、 藝術創作理論、當代思潮
洪浩鈞 兼任教師
李明學
學歷 / 英國倫敦大學巴特雷建築學院建築設計碩士 英國布萊頓大學建築與都市設計碩士 (Ü)robrous Studiolab _ 共序工事 主持人
學歷 / 私立東海大學美術學系 國立台南藝術大學造形藝術研究所 英國羅浮堡大學 博士
專長 / 建築設計、建築史
專長 / 當代藝術創作、影像裝置、複合媒材
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程紀皓 學歷 / 美國加州州立大學藝術動畫學系 叁喜映畫
王璽安 學歷 / 國立台北教育大學藝術教育與 藝術創作研究所碩士
專長 / 科技藝術、創作設計
專長 / 藝術創作、藝術理論評述、展 覽策劃
游孟書
牛俊強
學歷 / 雪梨大學，視覺藝術博士 密西根州立大學藝術與藝術史學系
學歷 / 實踐大學室內空間設計學系 台北藝術大學科技藝術研究所碩士
專長 / 立體雕塑、裝置藝術、複合媒材、 陶藝創作
專長 / 影像創作、複合裝置
林冠名
黃雅幃
學歷 / 國立臺北藝術大學 科技藝術研究所碩士
學歷 / 實踐大學室內空間設計學系 捷克電影學院動畫及視覺特效系碩士
專長 / 媒體藝術、視覺設計
專長 / 動畫創作
王弘志 學歷 / 巴黎索邦第一大學造形藝術創作博士 專長 / 創作媒材（物件 / 造形、空間、攝影 / 錄像）、當代藝術創作、後現代藝術
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A 設計｜規劃
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A 設計｜規劃
李昇隆 Shung-lung, Lee
〈光 · 公園 Sunlight ・park〉 以內壢興仁公園為研究對象，並觀察、分析使用者與環境情形，提供適 合各種不同屬性的個體，滿足其使用的活動環境、空間及設施等需求。 Taking Neili Xing-Ren Park as the research subject, through observing and analyzing the user and the environment to offer various individuals that are suitable and meet the needs of the active environment, space and facilities.
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A 設計｜規劃
林容靚 Rung-jing, Lin
〈生活之間 Between life〉 探討內壢里，此社區中的理想街巷生活是為何？透過實地勘查與分析， 觀察居民的生活模式，提出理想生活應該模糊公共與私人間的界線並且 超越居住空間，以此活躍近鄰之間的互動可能。 I try to exploring what is the ideal street life in Neil through field survey and analysis. I observe the lifestyle of residents,proposing an ideal life that will blur the boundary between the public and the private or even exceed the living space. As a method to bring more interaction between neighbors.
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A 設計｜規劃
温予婕 Yu-chieh, Wen
〈街。景 Street。Sight〉 探討台灣街景的構成，選擇由一條街出發，找尋他的脈絡，並以多種立 面的構成元素，提出多種改善的方案，以保留居民的需求為立場，試圖 整理台灣的街景。 I start from a street to explore the composition of Taiwanese streetscapes,by proposing and coming up with many solutions with several elements of buildings' facade in order to modify and organize a part of streetscape without ignoring the needs of the residents.
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A 設計｜規劃
傅亭菱 Ting-ling, Fu
〈廢棄客運站的再生與利用〉 Recycling and the utilization of a abandoned passenger stations
回到自己出生的家鄉－頭份、從一座廢棄的客運站出發，透過實際的操 作與模擬，重新觀看這片從小生長的土地，透過地方再造的方式，提出 托兒機構的假設，試圖呼喚起過去人們對此的情感，談論建築生命延續 的可能性。 When I went back to Toufen,the hometown where I was born,I restarted from an abandoned passenger station.Looking back the land where i grew up by actual operation and simulation, Through Proposing the hypothesis of the child care center by placemaking, I try to awake the emotion that people who have been living here and discuss the possibility of continuing the life of the building .
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A 設計｜規劃
黃媛筠 Yuan-yun, Huang
〈Y . 鐵皮屋工廠及住宅改建〉 Iron-sheet Factory and Residential Renovation 設計理念： 由於今年父母將退休並轉讓汽車保養廠，但以廠為家的生活方式已不再適用於他們， 為了得到住商的平衡，我想藉由畢製以此為基地做出一個空間上的改善。 設計理念與發展 : 從小居住在鐵皮屋內對於工廠的挑高空間有所喜愛，因為挑高的空間而產生了人們在 內特殊的生活方式，也成了我的各種兒時記憶。 置入對車行產業的分析，基於未來發展的考量進行異業結合，發展一種新型態的產 業 - 民宿汽車保養廠。 Due to the retirement of my parent, what I am facing now is a situation about the transfer the possession of my family's car repair shop. Moreover, I start to think that the current factory-based lifestyle may not be suitable for them after the retirement. Therefore, I decided to make a home-based basis during the year. Living in an iron sheet house, I loved the high space of the factory. Because of the high space, it offers the special way for people to live. Also, it became my childhood memories.Integrating the analysis of the car industry with the considerations of future development to set the combination of different industries which create a new type of industry - B&B with car maintenance.
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A 設計｜規劃
陳柔竹 Jou-chu,Chen
〈延續計畫 _ 田野 Continuation plan_Field〉 在一個村里裡，一塊自家田野，這就是我成長的地方。 隨著時光流逝，農業的沒落，讓許多農田出現閒置等情形，以往的農田 風景也逐漸消逝。希望能保留自家原有的田野，以空間形式的介入，重 新改善和轉型，來創造出更適合這片田野的生態空間。 In a village in, oneself field, this is together a place which I grow. Passes along with the time, agricultural declining, lets many farmland have situations and so on idle, the former farmland scenery also gradually dissipates. The hope can retain oneself original field, by the spatial form involvement, improves and reforming, creates suits this field the ecology space.
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A 設計｜規劃
楊啟佳 Chi-chia, Yang
〈合院博物館〉 The Museum of Traditional Courtyard Buildings
屏東縣五溝村是一個歷史悠久的傳統客家村落。「合院博物館」的目的 是把自己作為一個觀眾，同時也是個探險家，在傳統客家村落中，以一 個最理想的方式去「串聯」村落中的合院，讓不一樣的「行走」與「觀看」 方式，帶出時代生活的面貌，以及村落特色。 藉由河流步道走進村落生活，走進每個合院博物館。 The Wugoushui Village in Pingtung County is a traditional Hakka village with a long history.I made myself an audience who entered the museum and tried to find the best way to ‘’connect’’ and ‘’view’’ the courtyard buildings and life in the village.
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A 設計｜規劃
邱姿華 Zihua, Qiu
〈An amazing journy in my dream.〉 一直以來，山與身體、創造力之間有著十分緊密的關係，特別是生活已 遠離山林的現代人，當重新回到那個應該熟悉實則陌生的環境，身體所 感受到的每個細微都將變得巨大而深刻。在身體經歷陌生化的過程，會 帶來很多與自己相處時更深刻的感受，而這些感受力，我相信，在日後 會是創作上很重要的契機跟動力。 All along, the mountain has a very close relationship with the body and creativity. Especially the people nowadays who live far away from the forest. When returning to the environment that should have been familiar,yet feeling alien with it. Every subtle feeling that the body feels will become huge and profound. In the process of alienation in the body, it will bring a lot of deeper feelings when you get along with yourself. These sensations, I believe, will be an important opportunity and motivation in the future.
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《An amazing journey in my dream.》Collection I
《An amazing journey in my dream.》Collection I I
《An amazing journey in my dream.》Collection I I I
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《Deep Collection 》
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台北 松菸 - 展場紀錄
台北 松菸 - 側拍舞者
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A 設計｜規劃
伍傳萱 Chuan-hsuan, Wu
〈山海小市集－ 海港城市的未來想像〉 The Market Fair of Keelung —The Imagination of Harbour City
市集是個具有交換、交易、交流功能的臨時性場所，多具有主題性並以各個小 攤販為單位去串聯成一個較大且具有整合性的消費場域來吸引人潮。 此題目選擇的基地是位於基隆港口西岸一個向著海港的山城社區，此社區形成 的原因是因為早期基隆港碼頭產業的興盛而吸引人移入，現今隨著基隆港的沒 落，使青年外移，社區的高齡化及少子化問題也接著產生。 因此想利用社區的特色結合市集活動，試圖連結社區產業發展的可能，藉此吸 引人潮迴流。 The market fair is a temporary place for people to exchange, trade and communicate which always has its own theme that vendors can establish a bigger and more integral place to attract more customers. As a subject, I choose a community facing the sea which is located in the west side of keelung harbour. The origin of this community can trace back to the prosperous pier industry that drew many people to live move in. However, those industries gradually declined as the pier became mechanized. Besides, the pier workers forced to leave where they live, leaving that community behind with emigration and aging problem. As a result, I suggest to hold a bazaar with community specialties to bring people back which is also a way to connect the development of this community.
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模型照片
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市集圖面
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A 設計｜規劃
陳宣宇 Xuan-yu, Chen
〈日常 Daily〉
日常中人與物的接觸是無可避免的，在不同的生活場景中人及物件的的 互動模式會有所不同，休息的角落、工作的座位……等等不同場景中所帶 給人的體驗也有不同，若是能夠讓這些場景中原來所使用的物件能夠被 無痕的嵌入，讓這些物件更加貼合使用者心情的被使用，我想這更能夠 帶給使用者與平常不同的生活體驗。 The contact between people and objects in the daily life is inevitable. The interaction patterns of people and objects will be different in different life scenes. The corners for rest, the seats for work, etc. The experience is also different. If you can make the original objects used in these scenes be embedded without any traces, and make these objects more suitable for the user's mood. I think this can bring users a different life experience.
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A 設計｜規劃
洪瑋毅 Wei-yi, Hong
〈IN & OUT〉 人類通過五感與外界進行信息交流，使用不同的行為會觸發不同的感覺 回饋。 有自然，也有矛盾。 那 麼 怎 樣 的 行 為 會 給 人帶來怎樣的回饋 （五感），在現在普遍冰冷的人、物的關係中，探討你來我往的最佳 狀態應該是什麼。 Humans communicate with the outside world through five senses, using different behaviors which trigger different sensory feedback by nature or contradiction. Then what kind of behavior will give people feedback (five senses) ? I try to explore what should be the best state of the people and things.
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A 設計｜規劃
傅森垚 Sen-Yao, Fu
〈烏禪島 Wuchan Island〉 自由與穩定是否矛盾，結果正義還是過程正義，沒有人能給出準確答案， 但至少在虛擬的文學世界，我能夠給出自己的答案。 To be free or to be stable ？ Result justice or Procedural justice ？ No one can get the answer,however, at least, I can get my answer in the virtual world of literature.
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A 設計｜規劃
劉彥均 Yan-jyun, Liou
〈表象下的矛盾 Contradiction Under the Surface〉 都市更新，意指因早期欠缺規劃或建築物老舊，為促進土地利用再開發， 改善居住環境，實施重建、整建或維護措施。 芎林正在都市更新，但在人在這之下的矛盾。 Urban renewal . It means to promote the redevelopment of land use, improvIng the living environment, and implementing reconstruction and maintenance measures which is due to the lack of planning or building in the early stage. Qionglin is being renewed, but the contradiction between people under this contradiction.
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A 設計｜規劃
李佳珊 Jia-shan, Lee
〈put on or take out〉 一位服裝設計師的衣服會是什麼樣子呢 ? 在服裝領域的長期觀察下，試圖製作出一套是服裝設計師在他們工作時 所需要的服裝。 這是一件對他們服裝所想像出來的架構，可以在這架構上，依個人的需 求隨意的變形、組合，或是做增加或遞減，呈現多樣化的可能性。 What would a fashion designer's clothes looks like? Under the long-term observation of the clothing field,trying to make a suit of clothes that the fashion designer needs when they work. This is a structure that I imagined in their clothing. In this structure, they will can be random deformed, combined, or increased or decreased according to individual needs,and this work clothes is presenting diverse possibilities.
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A 設計｜規劃
王皓仁 Hao-jane, Wang
〈無需塑造 non-plastic〉 身處於物質泛濫的塑化時代，除了改善了人們的生活品質，也間接影響 了人的飲食習慣家裡糕點店裡提供的塑料餐具既不環保，也是額外的開 銷，那麼，在現實的考量下，是否能同時擁有塑製品的便利性與低成本 而“無需塑造”。 In the plastic age of material abuse, in addition to improving people's quality of life, it also indirectly affects people's eating habits. The plastic tableware provided in the cake shop is neither environmentally friendly nor extra cost. Then, in reality, Whether it can have the convenience and low cost of plastic products at the same time. "non-plastic"
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B 錄像｜影像
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B 錄像｜影像
蔡詠宇 Yung-yu, Tsai
〈生命中最後一堂課 The last lesson of my life〉 有時候成長，會讓有些人開始嫌棄或不理會從小愛自己的家人，總是自 私的為自己打拼。 以紀錄片方式，由自己家人出發，來探討即將迎接死亡的家人，是帶來 彼此，拋棄所有，選擇在一塊？又或是選擇無視，繼續原有的忙碌？ Sometimes growth will make people start to hate or ignore their beloved family. Selfishly we strive for our own business. A family documentary of my own. I try to explore the issue from the upcoming death of the family member. Would it rather abandon all to be together than choose to ignore, continue minding its own works?
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B 錄像｜影像
陳逸展 Yi-Jhan, Chen
〈旁觀者 Bystander〉 在台灣傳統的社會裡我們對神明有無限的幻想也有各式的祭典，廟會是 其中一種最常見可以與神明近距離接觸的活動，我們總是用著祈求者的 角度去觀看神明，而在神明的眼裡又是一個什麼樣的世界呢 ? In Taiwan's traditional society, we have unlimited imagination about the gods and various kinds of ceremonies. The temple fair is one of the most common activities that can be in intimate contact with the gods. We always stand in the angle of the petitioner to watch the gods. However, from the gods, what kind of world is it in the eyes?
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B 錄像｜影像
李頌恩 Song-En, Lee
〈這是耶穌的血 The Blood of Jesus〉 台灣知名的行為藝術家謝德慶曾說過 :「你不一定要來看我的展覽，你只 要意會到我在做什麼事情就夠了。」 我把過往演出的片段做剪輯、播放，這些影片都是我在復學前無法面對 的記憶片段，但是，由於對家裡的信仰有重新的認識，信仰讓我能慢慢 找到勇氣去面對過去的挫折然後復學，現在要畢業了，希望用這個作品 紀錄這段面對挫折的時間。 As Teching Hsieh, a famous Taiwanese performance artist, once said: "You don't have to come and see my exhibition, all you have to do is reconcile with what I've done." Playing in the background is a collection of clips of my performances in the past. These are segments of memories that I was unable to face when I took a few semesters off of school. But with newly found faith in my family's belief, I slowly found the courage to face the setbacks and return to school. Now that I'm finally graduating from school, I want to use this to document the journey I've gone to face my setbacks and fears.
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B 錄像｜影像
熊子萱 Tzu- hsuan, Hsiung
〈對話 conversation〉 手拿著鏡子在擺動的過程，比較像是一種接收、找尋訊息的一個過程，肢體語 言的表狀是來自潛意識的驅使，而潛意識本身就是一種曖昧模糊的語言，即 使記憶已不復存在，仍能透過人身體本能的反射動作去傳遞，也就是身體的記 憶，利用鏡子的晃動試圖去接收另一端的雜訊，雜訊本身是一種片段、一種干 擾，是影像失真後的一個狀態，而身體本能地去接收這種訊息。 The process of holding a mirror in a swing is more like a process of receiving and searching for information. The appearance of body language is driven by the subconscious mind, and the subconscious itself is a vague language, even if the memory no longer exists. It can be transmitted through the reflection of the human body instinct, that is, the memory of the body. The shaking of the mirror is used to try to receive the noise at the other end. The noise itself is a kind of fragment, a kind of interference, which is a state after the image is distorted, and the body Instinctively to receive such messages.
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B 錄像｜影像
葉珈妏 Jia-wen, Yeh
〈相似形 It just like…〉 將 ikea 視為一個大間的家，讓自己成為像在家中尋找物品玩樂的小孩， 發揮想像使物品與原本的用法是不同的，就像小孩在玩玩具時就是添加 了他自己對於這項物品的想像來達到玩樂的效果。 Consider IKEA as a big home in which one will be like a kid that find something to have fun. Also, they can play the object which was not functioned originally. Just like kids who play by using their imagination inside the the game to achieve the result : “play” .
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B 錄像｜影像
王敬希 Jing-shi, Wang
〈”Become like water, my friend.”〉 「我在思考什麼？」 當在自問這個問題時帶來的不是答案， 而是那害怕找尋不到回復的焦慮。 是非穩定的狀態， 而焦慮也就這樣不斷地反覆循環， 活得像水吧！ 就算焦慮還是能繼續流動著，我還存在呢！ ‘’What exactly am I thinking?’’ Brings you not the answer of the question, but the anxiety of not be able to get the response. Non-stable. The anxiety keeps running the loop.
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B 錄像｜影像
許嘉軒 Chia-hsuan,Hsu
〈如睡著般 Like falling asleep〉 釋放開來，而後收縮，反反覆覆，它遲早會消失，但輾轉之間，猶如跳 脫生命的常態般，未曾感到它即將消逝。 Releasing then contracting over and over,It disappear sooner or later. All of a sudden, as if it to escape out of the normal state of life, but never feel that it is about to fade away.
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B 錄像｜影像
方謦昀 Ching-yun, Fang
〈彩虹入港 Rainbow Delivery〉 「雖然基隆常下雨，但也很常看見彩虹。」 雨天的時候，怎麼踩在樓梯上卻陷了下去？ 屋頂上還有好多的海。 不為人知的貓咪在社區裡穿梭送物，送來的是溫柔。 “Keelung often rains ,and the rainbows show up.” How do I step on the stairs,but getting stuck when I am n the rain? There are so many waves and tides on the roof. Unknown cats wander in the community for delivery that spread love and kindness.
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B 錄像｜影像
劉潔 Jie, Liu
〈里山 Satoyama〉 里山地景是由人為經營的環境所組成，而里山倡議以世界上類似日本里 山地景的複合式農村生態系為對象，因人類的生活方式與大自然長時間 的交互作用所形成。利用攝影尋找家鄉苗栗的里山精神以及對環境的省 思。 The scenery of Satoyama is composed by man-made environment. and the Lishan Initiative is based on a complex rural ecosystem similar to the Japanese mountain landscape which is formed by the long-term interaction between human lifestyle and nature. I use photography to find the spirit of Lishan in my hometown Miaoli and the reflection on the environment.
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B 錄像｜影像
廖孜瑀 Zhi-yu , Liao
〈no content〉
”no content , or ….” / No content ….. Maybe you just didn’t see it, maybe it's actually not important, or maybe you should create it by yourself What’s the next sentence should be? When we can't see the front, just ask yourself .
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B 錄像｜影像
呂君敏 Chun-Min,Lu
〈穢者 Impure〉 在古老的想象中，一對夫婦走過了夜晚的邊境，只為尋求祭司的預言。 有位俊美無比的男性 Narcissus。他活在方興外艾的文明中，任一次好奇的驅使 倘若人類攪亂了生命的根本，錯將失序的記憶借代為永恆的浪漫， 我們又有何資格於此談論？ 談論： 腐敗的氣息冉冉上升，因循著氧氣的顫動，輕輕地灑落一地。 輕輕地，在眾人的喧囂聲中以誰的姿態瀰漫在斯泰爾斯的莊園底。 誰？ ————————————————————————————— 陌生的臉孔睜開雙眼，趕在恆星崩解之前，張開碩大的臂膀環抱夜空。 只是你放棄了堅持，任著星辰的灰燼自指間滑落， 倚著嘴角掉落的文辭一同逝去。 If human disturbed the essence of life, wrongly replacing the anomalous memory with the romance of the eternity. Are we that noble to talk about this? Discussion : The smell of the corruption arose along with the vibration of oxygen,scattering gently on the ground. Softly, within the clamour, with what figure pervades under Styles' estate. Who? ————————————————————————————— The unfamiliar face opened the eyes, and the gigantic arms surrounded by the night sky before the star collapsed. It’s just that you gave up the persistence and let the ashes of the stars slipped from the fingertips. That the words fell on the corner of the mouth was passing together.
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B 錄像｜影像
蕭雅方 Ya-fang, Xiao
洪逸璇 Yo-Hsuan, Hong
〈罅隙 A blank page we left in life〉 正視自己的過去，才會造就現在的自己，所以逃避過去的你、你、還有 你，才會像停滯的時光，讓你不停想起：害怕的那刻與激勵的瞬間，對 你來說是否定還是前進的動力？ 而你從各個感官去感受我，去回想當下所意識到的心情，我就像現在一 樣看著你因為我而努力、而證明自己，也因為我難過而失落，我無非是 你青春裡一段凜冽刻骨的關愛。 Only by facing your own past would make you became who you are now. Therefore, avoiding the ‘you’s’ from your past, would feel like time is frozen and keep questioning yourself. To you, the moment when you fear and the flash when you were motivated, are they the denials or motivations to move forward? However, you feel me from all the senses, recall all the emotions you had at that moment. I look at you, the me in the past, been working so hard for me and trying to prove yourself. Also feel upset and lost because of me. I’m undoubtedly so beyond an unforgettable affection in your youth.
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C 雕塑｜裝置
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C 雕塑｜裝置
陳博軒 Po-hsuan, Chen
〈影像作為一種分割 Image as a kind of Segmentation〉 系列作品「影像作為一種分割」，試探一種影像紀錄當下「景框之內」的、 內容與實體物的斷裂。影像的邊界在此被作為一基準線，我以此基準線截斷 照片中的實體物，而現場只剩下裁切至影像邊界的物，在我的經驗中記憶是 一種可被嫁接與不穩定的狀態，事物存於腦海的影像卻可能在尋找它時「物」 已不在原處，試圖從記憶出發，處理影像與物間的關係。 The series "Image as a kind of segmentation". An exploration of the fracture between the content and the entity through an image of the recording moment "Inside the frame". The boundary of the image is used as a baseline to crop the photo of the entities. Things left at the spot are the objects cut to the boundary of the image. In my experience, memory is a state of being grafted and unstable. When looking for the image of objects inside the brain, the object may be gone from the place it was. Starting from the memory, I attempt to deal with the relationship between images and objects.
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C 雕塑｜裝置
李聿 Yu, Lee
〈れい襪 Reiwa〉 1. 冷蔵庫のれい Reizōko no rei 2. 礼儀のれい Reigi no rei 2’. ( 媽我在這 ) (Má guádichia) 3. こんにち襪 Konnichiwa 日本新年號「令和」的發音我覺得很有趣，冷蔵庫 ( 冰箱 ) 的「冷」、礼儀 ( 禮 儀 ) 的「禮」跟「令」一樣都念做 Rei，這兩個字剛好符合大部分人對日本人的 印象，相較於日本人的拘謹，台灣人的表現相對放鬆；而襪子這個私密但又會 顯露出個性的感覺跟我生活過的日本非常相像呢 ( 笑 ) I find Japan's forthcoming new era title ”Reiwa” very interesting Reizōko (refrigerator) ,Reigi (manners) and Reiwa, they all have “Rei” which match the general ideal of Japanese. Compare to how reserved Japanese are, Taiwanese people are relatively easygoing and relax. Socks are private to one,however, they show one's personality. This feeling is identical with my experience in Japan.
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C 雕塑｜裝置
蔡翎禎 Ling-chen,Tsai
〈階段性的熟悉 A sense of getting familiar〉 試著營造出一種似物非物的狀態。壞掉的物品再次破壞、拆解，重新組 合，裹上一層水泥，再使用熱塑模塑物品。此過程中，「不斷包覆、層 層狀態」，才會衍生接下來的幾件作品。 幾件作品作為呼應。底層厚紙板包覆了一層塑膠膜。在此同時我又回溯 到過程，不斷包覆著狀態，也是我目前在探討的。 I attempt to create a paradoxical state of an object . Broken items are destroyed, disassembled, reassembled, covered with a layer of cement, and then molded with thermoplastics. In the process, "continuously wrapped and layered state" will lead to the next few works. Several works echoed. The bottom cardboard is covered with a plastic film. At the same time, I went back to the process, constantly covering the state, which I am currently discussing.
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C 雕塑｜裝置
宋依庭 Yi-ting, Song
〈耳語 Whispers〉
如果可以輕易的透過分享， 撫平過去的情緒與傷痕， 那我願意將所有煩惱毫無保留的訴出與你。 If I can easily calm emotions and scars of the past by sharing, I'm willing to tell all my worries to you without reservation.
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C 雕塑｜裝置
張家寶 Chia-Pao, Chang
1.〈晚安睡睡 Goodnight 〉 2.〈蓋一座蹺蹺板的可能性 The possibility of building a seesaw〉 3.〈蓋一座鞦韆的可能性 The possibility of building a swing〉 4.〈蓋一個家的可能性 The possibility of building a home〉
1. 清醒的沉睡 Sober sleep 2.3.4. 在我父親的鐵工廠裡 , 我被這些生鏽的、被切割後所剩下的鐵材 所吸引 , 在這些不完整的鐵材上我好像感受到了一些事情 , 所以我用這類 鐵材和我過往使用的媒材 : 羊毛 , 開始著手創作 / 思考彌補過去的可能性。 In my father's iron factory, I was attracted by these rusty,leftover irons. I felt something with these incomplete iron. As a result, I use this kind of iron and wool which is the medium I used in the past. starting to create / think about the possibility of making up for the past.
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C 雕塑｜裝置
孔嘉琳 Jia-lin,Kong
〈不要忘記回家的路 Don’t forget the way back home〉 當行走直到臥躺 狀態與改變 空間與物質也不斷捨棄與替代 仰賴著附加物質給予的平衡 身體的姿態與地板呈平行 真實立足於地板也漸遠 無用的輔具 遺棄的傢俱 以截斷又焊接 重新組合 看似不自然卻熟悉的物件 人性的日常暴力相互依存 While walking til lying down State and change Space and matter are also constantly abandoned and replaced Relying on the balance of additional substances The posture of the body is parallel to the floor Truly standing on the floor and getting farther away Useless Assistive device, Abandoned furniture Truncate and weld Objects that seem unnatural but familiar Daily violent interdependence of human nature
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C 雕塑｜裝置
楊濡瑄 Ru-Shuan,Yang
〈對等關係 Balance〉 「飛蛾撲火」火光之於蛾，有一種迷人的吸引力，如同一種習性驅使的 依賴，而無法抗拒的向它靠近，而導致死亡。 在這件作品中，飛蛾對光依然有不可抗拒的吸引力，每次短暫的碰觸， 都是下一次接觸的起點。而在此飛蛾之於燈，成為另一種不可或缺的存 在。 The "moth-to-fire" .Fire is a fascinating attraction for the moth, like a habit-driven dependence. they are irresistible to approach it. Eventually, leading to the death. In this work, the moth still has irresistible appeal to light, and each short touch is the starting point for the next contact. Here, the moth is a lamp that becomes an indispensable being.
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D 繪畫｜動畫
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D 繪畫｜動畫
陳昱恩 Yu-en,Chen
〈地獄梗 Hellish gags〉
將現今網路以黑色幽默為主題製成的梗圖作為作品發想，搭配上自己繪 製的十八層地獄圖。測試觀者的道德底線。 As a theme,the inspiration of my work is the picture (meme) made by the current network with black humour. I matched them with different stage of the 18-layer hell map drawn by myself. In order to test the viewer's bottom line of morality.
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D 繪畫｜動畫
劉庭嘉 Ting-Chia, Liu
〈剛好路過 Just passing by〉 隨機與刻意為之的界線在哪裡？ 肯定與遲疑共存 試圖讓自己回到創作的初衷，去感受創作的本質。 Where are the boundaries between random and deliberate? Affirmative and hesitant coexistence. Trying to get back to the original intention of creation, to feel the essence of creation.
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D 繪畫｜動畫
廖于瑄 Yu-hsuan, Liao
〈永恆的消逝 The Eternal Elapsing〉 對於稍縱即逝的記憶。 繪畫的目的不是一種裝飾，而是與某種內在需要相關聯。藉由外在的觀察和主 觀的臆想，將看不到的本質呈現在畫面之中，將肉眼看的到的邊界延伸至內在 的邊界 — 即將消逝的事物。 從海浪的形狀到燃燒的痕跡，縱使如此對比的兩個存在，仍指向同一個事實 — 即將消逝，海浪帶走了岸邊的存在物，燃燒則消失殆盡，如此平常卻又帶有一 絲悲傷的情緒，是否也是你看待「消逝」所產生的情感呢？ About those fleeting memory. The purpose of painting is not being a decoration, but an association with some inherent need. Through external observation and subjective delusion, the invisible essence is presented in the picture, extending the boundary seen by the eyes to the inner side—the thing that is about to disappear. From the shape of the waves to the traces from burning, even though the two existences of such contrasts still point to the same fact - about to disappear, the waves take away the presence on the shore,burning and fading till it disappears. Such general emotions,however with a trace of sadness. Do you own the same sensation about disappearance as well ?
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D 繪畫｜動畫
陳泓瑋 Hong-Wei, Chen
〈The infinite Line : The elegy within〉 我的創作試圖在繪畫中達成聲音質感的轉換與身體感知經驗的對話 感官盡收一切細碎聲響；聲音在腦海中烙成記號留下一道道的軌跡，在想像中被喚起內在 景致 : 有時是深夜中獨自清醒、有時是天空、雨點、風和水的流淌，產生從微小至遍布全 身得顫動；此外，有時是在凝視野花輕晃時，雙眼的視線搖動在心中產生回響。 在繪畫過程中，我關注每個身體感的累積，從中思考筆跡質感的堆疊，透過自動性書寫、 軌跡流動、不同質地的筆觸在畫面上的線性擾動，那是身體感和意識同步且具有直覺性和 自發性的痕跡，如同聲音在空間和空氣中的不斷迴盪。 / 這一系列的作品是對夜晚的深邃的想像 夜空和海洋間互相映照著，光點、浪潮、泡沫和風鳴 在雙眼和意識中想像那無垠 同步與心振動時 體驗到自身存在 是如此清醒卻寂靜 My works, I try to reach numerous possibilities of the human emotion between the conversion of the texture of sound and the perceptional experience. When all kinds of sound being captured, they leave marks in brain which evoke some certain experience or even scenery within memory. Sometimes it would feel like half-awake in the middle of the night, sometimes it would be the sky, the raindrop, and the flow of breath, occurring a wide range of sensational vibration through every inch of body. Moreover, Sometimes it would be the case that gazing the wild flower swaying back and forth. The eyes follow the movement of the trace which cause the ripples in mind. During the process of painting, I paid high concentration to my body, contemplating the stacking of every stroke and texture through automatic writing, mark-making, and brush stroke float and vibrate on the canvas. It is the trace of the human corporeality and consciousness work simultaneously with intuition and instinct. Like sound, with the continuous resonance within air and space. / This series of work is my imagination of the profundity of night. The ocean and the night sky reflect each other: sparks, tide, wind, and bubbles. I try to reach the infinity between eyes and consciousness. While it vibrate along with the heart pounding How clear and silent the existence of self is.
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D 繪畫｜動畫
陳麒文 Chi-wen, Chen
〈迷惘 Perplexed〉
在時代的轉變下，看事物的感觀也有所改變，再藉由布本身的質地，經 過重組縫合，層層疊加與薄透的相互結合下，給觀看者有不一樣的觀賞 經驗。 Under the change of the times, the perception of things has also changed. By the texture of the cloth itself, through the reorganization and stitching, the layers are superimposed and thinly combined to give viewers different viewing experience.
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D 繪畫｜動畫
顏怡如 Yi-ru,Yan
〈痕跡 Marks〉 生活中有很多微小的事物，即使存在也不易被察覺，我從觀察生活周遭 開始，發現了一些會隨著時間消失的、或是很細微的痕跡，我想刻意去 把這些微小保存下來，就像我們存活過的證明一樣。 There are a lot of tiny things in our life. They are not easy to perceive although they exist. I started to observe the life and found some marks which will disappear with time or some tiny marks. I want to keep these things deliberately. Just like the trace we lived.
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D 繪畫｜動畫
王曉婷 Hsiao-Ting Wang
〈在理想之前 Before the ideal 〉 駐足在海岸線上，海浪一陣一陣襲來，望著遙遠的海平線，海洋的廣大 與湛藍是那麼讓人心廣神宜。站在沙灘前面靜靜地看海，幻想著未來的 美好，無邊無際的海平面就像夢想一樣遙遠，海水深沉地讓人感覺到自 己的渺小。 現實，是腳下綿軟的細沙，沾染在皮膚上；破碎的牡蠣貝殼、瓦解的塑 膠品，刺在腳掌心上。捧起一把細碎的沙，掉下來的是各式各樣的殘骸。 Staying on the coastline, the waves are coming and going. Looking at the distant sea line, the blue and vastness of the ocean is so heart-warming. Standing in front of the beach, watching the sea quietly, imagining the beauty of the future, the boundless sea level is as far away as a dream. The sea is so deep that people think they are Insignificant. In the reality , the soft sand under the feet is stained on the skin; the broken oyster shells and the disintegrated plastics, are stuck the soles of the feet. Holding a small piece of sand , it is a variety of wreckage.
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D 繪畫｜動畫
張睿光 Rui-guang, Zhang
〈感知 Feeling〉 單純、直接 透過顏料的塗抹從視覺感官上感受單純的感受，對於情緒每個人都是主 觀的，而我自身的感知創作的作品也會在觀者視覺中出現屬於每個人自 身的感受，一系列的過程是這次主要想達成的目標。 Continuing the previous "body perception" piece, the simple feeling of the visual sense is felt through the smear of the paint, which is subjective to each person, and my own perceptual creation works will also appear in the viewer's vision. The individual's own feelings, a series of processes is the main goal that this time wants to achieve.
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D 繪畫｜動畫
盧淑茵 Shuk Yan, Lo
〈夢想 Dream〉 在一生裡，不同的階段對於夢想會做出不同的選擇，也會為了夢想而打 拼，可能最後會走向與原來的夢想不一樣的道路，但夢想是美好，不管 是否曾經擁有。 回過頭來想起自己的夢想吧，不管遇到什麼困難我們一起來擊敗他！ In a lifetime, different stages will make different choices. We work hard for dream. Maybe in the end,it will lead to a different path than the original one. However, the dream is beautiful whether it has been owned or not. Looking back at your dreams,no matter what difficulties we encounter. We will defeat it together!
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D 繪畫｜動畫
劉宇婷 Yu-Ting, Liu
〈木馬 Trojan Carousel〉 動畫作品。 我在我的影片中創造了一個主角，他在探索自己的精神世界。 因為壓力的關係，他在日常生活中出現了幻覺，而幻覺其實就是他小時 候的遭遇衍生的，他失去了小時候的記憶，在越演越烈的幻覺中發生的 故事。 Animation work. In my film, I created a man exploring his spiritual world. His daily illusion was caused by stress and his childhood. He lost his childhood memories, this story takes place in an increasingly severe illusion.
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強化玻璃心 展覽照
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主辦單位 / 元智大學藝術與設計學系、松山文創園區第八屆學園祭 指導單位 / 桃園市政府、桃園市市政府青年事務局 執行單位 / 元智大學藝術與設計學系第九屆畢業展畢籌會 展覽網站 / https://yzuad2019.wixsite.com/2019yzuad 印刷
/ 感官文化印刷
主編
/ 楊啟佳
校稿
/ 伍傳萱
美術設計 / 楊啟佳 孔嘉琳 洪逸璇 展場攝影 / 李昇隆 劉潔 英文翻譯 / 陳泓瑋 王敬希
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