Yow Chee Hoe by Ting Wei Yeh

Yow Chee Hoe

CONTENTS

4-9 11-21

鄉愁就像一面鏡子，離家愈遠愈令人無法遁逃 / 鄭乃銘我「家」的見證物 The Witnesses of My Family

23-34

家中的妳 Memories of My Family

35-45

溫度記憶 Touching Memories

46-49

物件、色彩、家族：饒祗豪的版畫藝術 / 高森信男 Object, Color, Family: Print Art of Yow Chee Hoe by Nobuo Takamori

51-61

圖版 Works

62-63

簡歷 Biography

鄉愁就像一面鏡子，離家愈遠愈令人無法遁逃 — 饒祗豪的〈裔饗日記〉版畫

文 / 鄭乃銘

『我獨自在橫跨過田地的路上走著。夕陽像一個守財奴似的，正藏起它最後的金子。白晝更加深沉地沒入黑暗之中。那已經收割了的孤寂田地，默默地躺在那裡。天空裡突然升起了一個男孩的尖銳歌聲。他穿過看不見的黑暗，留下歌聲的轍痕跨過黃昏的靜謐。他鄉村的家坐落在荒涼的土地邊上，在甘蔗田的後面，躲藏在香蕉樹、瘦長的檳榔樹、椰子樹和深綠色的賈克果樹的陰影裡。我在星光下獨自走著的路上停留了一會。看見黑沉沉的大地展開在我面前，用它的手臂擁抱著無量數的家庭。在那些家庭裡有著搖籃和床鋪，母親們的心和夜晚的燈，還有年輕的生命。他們滿心歡樂，卻渾然不知這樣的歡樂對於世界的價值』。

饒祗豪的藝術，是地圖；是一張張屬於思鄉的地圖。

---- 泰戈爾 (Rabindranath Tagore 1861-1941) 新月集〈家庭〉

書，同時啟發了他日後深受矚目的版畫創作題材。「在這件作品之前，我並沒有很特別會去想到這些關於家裡面的記憶。不能說沒有

這位 1984 年出生在馬來西亞的年輕藝術家，2006 年考進國立臺

想過，而是很片段難以成為一個篇章的那種片段性的記憶。一直到

北藝術大學美術系主修版畫，目前即將從北藝大美術創作研究所

我將父親生前使用的單輪推車取來作創作主題，我突然才整個感受

畢業。他在馬來西亞藝術學院美術系 (Malaysian Institute of Art

到 , 原來過去這些對家的記憶實在相當深刻，只是都被隱藏起來，

Diploma of Fine Art) 主修的是油畫，他自己說「因為不想畢業就

沒有那麼具體地將它們拿到心裡面來，仔仔細細地去想…」。他說。

得要上工，所以到台灣來繼續唸書」。有趣的是，要準備選填系所的時候，饒祗豪可一點都不想要繼續修習油畫，「在我的最初想法

但，記憶，打開了，不也就像自己每天都把紙船一個個放在急流的

裡，就是想學雕塑或版畫。一開始，我是選雕塑，但我真的很不習

溪中一樣嗎？紙船上，用著粗黑的字寫著自己的名字和家鄉的名

慣環境處處充滿著塵絮、髒亂…還有雙手都會搞得髒髒的。於是，

字，希望在異地撿拾到的人，能知道自己是誰、在想念著誰。

就專心一意投入版畫研習」。只是，這位有點潔癖性格的藝術家，或許在當時並沒有清楚意會到，自己轉而研習版畫 , 反倒更能和後

饒祗豪的藝術，固然是以生活當中尋常的事物來入題，這些物件更

來所發展出來一系列創作主題達成情境上充分密合。

圍繞著以母親生活為中心，表面上當然也能被拿來解釋他對母親的思念，從另一方面我則認為，他是透過母親日常生活物件的描述，

饒祗豪的版畫作品，多數是木刻版。事實上，木刻版畫有個極大的

企圖梳理出自己對於文化本質上的認同、更深一層也是對身分的認

特質，也就是擅長流露出低調內斂的樸素情感。它絲毫不顯銳利，

同。

更也不會將視覺導向富麗，同時更不會低沉到蘊藏著心機。木刻版畫能充分顯現線條的稚拙、顏色的憨厚，使得情感的視覺動線趨近

饒祗豪是典型在馬來西亞出生的華人第二代。爺爺早年從廣東移民

於溫暖，且令人能細細回味。

到馬來西亞，饒祗豪的外婆則又是所謂娘惹，也就是一般所知道的土生華人 Peranakan。土生華人，通常父親為華人、母親則是馬來

饒祗豪版畫主題的初衷是關於父親。饒祗豪的父親在他於馬來西亞

人，他們也有個專有名詞，男生稱為峇峇 BaBa、女生被稱為娘惹

唸書時即過世，由於父親生前是位建築工人，家裡自然到處都堆放

Nyonya。早年移民到東南亞的華人，大部分原籍是福建或廣東潮

著建築的工具，這個印象直到他到了台灣求學，準備考研提交作品

州地區，小部分是廣府和客家籍，這些人來到新加坡、檳城、麻六

的時候，想到何不以父親生前經常使用的單輪推車為題來做為版畫

甲等地開墾的華人移民，小孩也都是在南洋出生，而土生華人與馬

內容呢？這個想法落實之後，自然也讓他能順利進入研究所繼續唸

來人通婚是極為多見。因為，兩種不同文化的交融，很自然就會慢

慢自行發展出一股獨特的二元文化的新融合體，成為東南亞特殊的

饒祗豪作品裡的素樸情感，溫暖而動人。我認為，他在選擇表現媒

文化。只是，土生華人依舊會遭遇到環境不同眼光的看待，擺盪在

材與作品主題兩個環節，確實從母親家族系統的娘惹文化特色獲取

中國與馬來西亞兩極文化天平之下的娘惹文化，自然還是會有文化

極大靈感。娘惹女性有個很大的特質，她們生性樸實、刻苦耐勞、

認同的疑惑。而文化認同，如再稍微擴大來解釋，就是所謂身分認

任勞且任怨，對於手藝更是一流，所以娘惹美食在東南亞國家深

同。

受歡迎。而傳統對於華僑夙來又有三把刀的說法，也就是：菜刀、剃刀和剪刀；靠著這三把刀，早年華人的確都能在異地為自己及家

對饒祗豪來講，從小他在這兩種文化交融的情況長大，文化本身的

人建立安身處所。

差距性，或許在家庭裡並沒有那麼巨大，等到現在站在外面來看裡面，免不了就比較能體察到兩種文化所塑造的差異點在那裡。「在

饒祗豪的母親靠的就是裁縫工作維持了家庭溫飽。因此，饒祗豪小

馬來西亞，他們總當我是華人。到了台灣，老師與同學則認為我是

時候在家裡就常看到與接觸母親賴以維生的裁縫工具：針線、剪

僑生。似乎，身分在不同地方，總好像無法真正地落到對方的土地

刀、熨斗、縫衣機…，這些相當平凡的物件，當饒祗豪在馬來西亞

上…」。這種心理上的跌跌浮浮，的確都會發生在離開原生土地之

的時候，當然一點都不會感覺出特別。可是，現在與母親分隔兩地

後、再回頭去看原生土地時，才愈加明顯化。

時，這些物件竟然都成為對家的一份見證物，也是對母親難以排遣的思念之情。

饒祗豪說「我曾經試圖去找出家族的歷史，但我發現根本無法從父親那個家族系統當中問出個所以然來，同時我也發現自己根本找

饒祗豪的作品，可以從生活象徵物件及文化物件兩個層面來看，他

不到族譜…」。或許正因為無法從父親家族的遷徙歷史中爬梳出血

嘗試通過形制的書寫來牽引出家庭文化的特殊風景，語境的表達，

緣脈絡，饒祗豪反而有了更多的心理空間去容納來自母親家族的生

因為木刻版畫的媒材性格，兩者達到形與神巧妙融合，更進一步

活、文化特質，並且從這裡面找到自己藝術的落點。他透過母親工

牽引出他從母親身上所看到的樸實個性，也能充分藉由材質的適切

作的觀察、家裡物件的描繪，這位年輕藝術家在異鄉為自己建造了

性，傳達得愈加立體化。

一座能夠攀爬的懷鄉思親階梯，也以自己的方式梳理出文化本身的異同。在我認為，饒祗豪目前的創作表現，或許還處於初階對形制

饒祗豪有一組創作是彩色磁磚，我個人覺得這組較為早期的創作，

事物的主觀描寫過程，可是一旦從對事物形制的理解慢慢走出來之

雖然說是小品卻格外令人感念到他書寫馬來西亞家庭的氣息特別

後，他會更清楚知道物件背後能夠深入探究的精神根底，那才是他

貼實。這些花紋與顏色相當豐富的小磁磚，在東南亞的華人家庭可

找到如何歸位身分認同的法門。

說是相當常見的物件，它的裝飾性相當強，但卻也就在於裝飾性強

而愈加能代表著它的文化特質，那是更接近生活美學的一份自我表

達一份最深切的愛意和敬意，作品後面的深意動人心弦。饒祗豪

態，色彩的原色，在一種毫不添加其他色彩的調和之下，呈現非常

的母親是以裁縫維生，剪刀或針線包，都是很經常被使用的物件。

直接的情感選擇和審美觀，視覺的熱鬧，也為本來就樸素的家庭環

可是，剪刀的利、裁奪、切割，甚至帶有一股潛藏的威脅性，都能

境增加了顏色的聲音，這種極為微小卻非常具有特殊地域性格的物

從心理學上來做解讀。饒祗豪大量擷取剪刀來做為表現題材，除了

件，應該是饒祗豪對於自己身分背後的文化表徵，所踏出觸探的第

某種程度是在暗示母親在生活上的獨立性之外，也同時把母親過

一步。對文化物件的探討，饒祗豪在 2013-14 年《家中的妳》系

往面對的生命轉折所呈顯於外的強韌，透過這個象徵維生的物件；

列作品中，則是舉餐桌上常見的碗、湯杓、漱口杯、飯籠…來做為

一點即破。至於，被拿來收拾縫針的針線包，饒祗豪固然不停演繹

表現，畫面上這些器皿都有著瑰麗色彩與圖案，非常具有民族特殊

出各式可愛的民間圖案造型，但是在我眼裡，饒祗豪母親從家族所

風情的外表，都教饒祗豪安置在不同背景的地磚、桌巾、花巾上

遺傳下來早期華人那種對生活知忍辱、懂進退，這多麼像是針線包

頭，畫面所透露出來的情境就好像帶領著觀者進入東南亞華人家庭

能夠承載如此多的針插在身上，卻不會輕易退陣下來，依然能夠笑

裡面，慢慢品賞不同於自己家庭的文化風景。

傲眾生的堅毅性格！

饒祗豪在生活象徵物件方面的表現，題材多少還是有點不夠豐富，

對饒祗豪來講，與其說是透過對母親工作的物件來傳達一份思母之

可是他所選擇的物件卻都有一種可加以延展的精神空間能夠探討，

情，但倒不如說他是經由這樣的創作表現，以母親的工作角色來做

這的確是相當值得被提出來探討的。例如，他在 2010-12 年有一

為平台，更深一層去觸探華人移民從對生活到對生命，所煥發出來

組系列創作《媽媽的鐵飯碗》，這組作品就已經出現很多剪刀、針

的那份刻苦與磨心的內在風景。

線包…主題，但與 2012 年《我「家」的見證物》系列作品相較，《媽媽的鐵飯碗》系列，設色較為樸實，饒祗豪比較忠於木刻版的特

生活的尋常物件，固然可以輕淺、易忘，但也能深刻至此。

質，展現一股很生活性的情感表達。但是到了《我「家」的見證物》系列的時候，他已經學會如何掌控媒材的特質，善用媒材的特性並

離開家很遠、很久的遊子，思念，可以很長…很長，但也可以在思

讓這份特質來帶出畫面迷人的拙趣，色彩也慢慢把初期運用到彩色

念裡面去理出文化身分的風景，竟然也能情深至此。

磁磚上的感覺找回來，我覺得，他的手感與情感的直觀逐漸歸整到一條線上，作品觸動人心的俐落非常有進步。而從他這些生活象徵物件的題材來講，我覺得，饒祗豪是對母親表

Nostalgia Is Like A Mirror, The Further Away You Run The More Inevitable It Becomes - Yow Chee Hoe by Cheng Nai Ming I paced alone on the road across the field while the sunset was hiding its last gold like a miser. The daylight sank deeper and deeper into the darkness, and the widowed land, whose harvest had been reaped, lay silent. Suddenly a boy's shrill voice rose into the sky. He traversed the dark unseen, leaving the track of his song across the hush of the evening. His village home lay there at the end of the waste land, beyond the sugar-cane field, hidden among the shadows of the banana and the slender areca palm, the cocoa-nut and the dark green jack-fruit trees. I stopped for a moment in my lonely way under the starlight, and saw spread before me the darkened earth surrounding with her arms countless homes furnished with cradles and beds, mothers' hearts and evening lamps, and young lives glad with a gladness that knows nothing of its value for the world. ---- (Rabindranath Tagore 1861-1941) The Crescent Moon 〈THE HOME〉

Yow Chee Hoe’s art is like a map; a map of longing for home.

Malaysia. His father was an architect so there were numerous architectural tools lying around the house. These impressions

The young Malaysian artist born in 1984; entered into Taipei

stayed with him until he pursued his education in Taiwan; when

University of the Art in 2006 and is going to graduat from there.

he began preparing his submission exam, he thought why not

He majored in oil painting at the Malaysian Institute of Art

use his father’s single wheel carts as the main topic. When this

Diploma of Fine Art. He once said, “I don’t want to work right after

thought began falling into place, a smooth entry followed into the

I graduate so I further pursued my education in Taiwan.” The

art institute he applied and also inspired his series of printmaking

funny thing is, when he began to select his major he didn’t want

in the future. He said, “Before this art piece, I didn’t particularly

to continue oil painting or watercolor. His most ideal thought was

remind myself of these memories of home. Until I used my

to learn sculpture or print art. At first he chose sculpture but he

father’s single wheel cart to create a theme I suddenly realized

wasn’t accustomed to the messy environment and dirty hands.

that these memories of home are rather profound and never paid

In the end, he devoted his attention to the practice of print art.

close attention to them”

This rather germaphobic artist probably didn’t realize at the time that he would study print art and produce a series of topics that

These memories were thus opened, just like a paper boat placed

reaches a full adhesive state.

on a rapid river. Using a thick bold black pen to write my own name and hometown on the paper boat, hoping someone else

Yow Chee Hoe’s print art are usually woodblock. In reality,

can discover this boat and know who this person is and is missing

woodblock art has an exceptional quality. It specializes in

who.Yow Chee Hoe’s art uses unusual objects as the main topic,

revealing a low-key and restrained emotion. It doesn’t appear

these objects even more so circles around his mother’s life. On

significantly sharp, nor will it be visually flamboyant and yet at

the surface, it has been used to explain his remembrance of his

the same time it won’t appear way too subtle. Woodblock art fully

mother; but from another perspective he is attempting to use the

displays the lines and colors; which make the emotional dynamic

description of his mother’s everyday life objects to point out the

appear warmer and worth reminiscing.

cultural essence of its own identity and rather also a deeper self

Yow Chee Hoe’s print art themes started out to be about his

identity.

father. His father passed away while he was still studying in

Yow Chee Hoe is a typical second generation Malaysian. His grandpa

performing media to the theme, he definitely gets his inspiration from

immigrated from Guang Dong to Malaysia at a young age. His

his mother’s Nyonya culture. Nyonya women contains a huge quality,

grandmother was a Nyonya which is usually known as a Peranakan.

they are naturally simple, hard laborers and a first class craft artist.

Due to two different cultures combining, it gradually forms a bicultural form. Even a local Peranakan will still be viewed differently; juggling

Yow Chee Hoe’s mother relies on tailoring to supply family

between two different cultures will still cause confusion and doubt. If

subsistence. Therefore, Yow regularly comes in contact with his

cultural recognition was explained on a larger scale, it will probably

mother’s tools: needles and thread, scissors, irons, sewing machines

be called identity recognition. To Yow Chee Hoe, being born into two

and etc. These average, everyday objects were not special for Yow

combined cultures seems perfectly normal but from an outsider’s

while he was in Malaysia. But being apart from his mother, these

perspective may be viewed as different. “In Malaysia, they treat me as

objects became witnesses to his love for his mother.

Chinese, but in Taiwan the teachers view me as an oversea student. As if being born somewhere else, you cannot be fully accepeted in

Yow Chee Hoe’s art pieces can be seen on two different levels; a

another place.

symbol of life and cultural objects. He attempts a writing shape to lure out his families cultural landscape, context of expression; and

Yow Chee Hoe once said, “I attempted to search the history of my

because of the woodblock personality, both reaches an auspicious

origin but I discovered that I couldn’t even ask anything from my

fusion of shape and God. Even more so leads to the display of his

father’s side and I also couldn’t find a family genealogy.” Due to

mother’s humble personality and fully explains the material relevance

this reason, Yow is more inclined to accommodate his mother’s

that conveys a 3-D effect.

side of life, cultural quality and also find an artistic spot from within. Through the observations into his mother’s work, depictions of home

Yow Chee Hoe also has a series of silkscreen works on terracotta.I

objects; this young artist built a ladder of nostalgia and used his own

personally take this as his creation in early period; thought this series

method to organize the similarities and differences between two

is more like a skit yet it’s quite persuading for him to give portraits

cultures. From my point of view, Yow’s current creative display still

to Malaysian Baba Nyonya family. These little tiles that are rich in

lies in the introductory stage, but once walking out from this phase

color and motifs are common objects in Chinese family in South-East

he will be able to delve into the spiritual foundations of objects and

Asia. They are very decorative and furthermore; represent its cultural

this is probably the key to the search of self identity.. Yow’s work

characteristics, which is also a self-statement close to living aesthetic.

holds a naïve emotion that’s warm and moving. From choosing the

Without reconcile other added color, the origin colors directly present

out the choice of feelings, aesthetic standards and bustling in vision;

progress in touching one’s heart.

increasingly add the sound of color to background—family, which gives impression of simple and modest. This micro but locally

From his symbolic topics, I think Yao is expressing a deepest love

unique object should be a beginning exploration for Yow Chee Hoe

and respect for his mother; the emotion behind the works strikes a

to seeking deep cultural representation behind his identity. In 2013

deep chord. His mother is a tailor; scissors and needle balls are tools

to 2014 series “Witness,” the discussion for cultural objects such

frequently used. But the sharpness of scissor or even its potential

as bowls, spoons, cups and food cage are here showed by delicate

threatens can be understood from a Psychology perspective. In some

colors and patterns, giving off a strong sense of ethnical appearance.

degrees, in addition to indicate mother’s independency in life; the

They are arranged by the artist at different backgrounds like tile floor,

great image uses of scissors also suggest mother’s toughness when

table cloth, and flower cloths, ,making the atmosphere of the works

facing the turning points in past days. Scissor as a most symbolic

is as if taking the viewers to a Baba Nyonya family, tasting a cultural

tool for tailor lives become the best spokesman. As for the needle

difference from our own.

balls, even thought the artist kept reforming its shapes from one lovely animal to another one, it means more about the tolerance for

In addition to the symbolic representation of objects in daily lives, it’s

life that his mother inherited from their immigrated Chinese ancestor.

somehow not enough for Yow’s topics; however, each object chosen

This is a great similarity to needle balls as they both carry so many on

by him has a spiritual room for extended discussion; this indeed is

the back but still be courageous.

worthwhile to be underlined and talk about. For example, in 2010 to 2012, in series “Mom’s Occupation,” topics such as scissors, needle

For the artist, his works are more like a profound exploration of the

balls are frequently appeared; but compared with “The Witness,”

living and lives of Chinese immigrants; the inner spiritual landscape

“Mom’s Occupation” is more modest in color; the artist took an

aroused by difficult painstaking situation may be easy to take it light

attitude which is more loyal to woodblock print, revealing a “feeling of

but here’s also a possibility to make it deep on prints. Far away from

life.” When it comes to “Witness” series, the artist already developed

home, not retouring for a long time, home sick can be lasting and

a good command in managing materials features. He made good

deep enough for a careful read of cultural identity.

use of them and brings out a kind of clumsy charms of the prints. His color also finds out its feelings which can be found in his early terracotta series; personally I think he gradually integrates intuition of emotions together with a sense of hand-made; that’s a remarkable

2012 我「家」的見證物 The Witnesses of My Family 《我「家」的見證物》是一系列八色的針插刻劃。在針線活裡，針插乘載的是每一個提起與落下，是藝術家對於母親手作辛勞的情感凝聚點。透過特一物品的多樣擬物化，在溫馨飽滿的動物造型中，寓寄的是母親為家帶來的溫飽及藝術家對她鼓滿的敬愛。 “The Witnesses of My Family”is a series of needle balls prints presented in eight colors. In tailor life, each needle ball carries every up and down of a needle; for the artist, the needle balls are emotional sustenance for mother’s toil. Through a diverse imagines of a single specific object, what hidden among full warm shapes of animal are sublime respect and full warm love for mom.

The Witness ＃ 001 單版複刻．Woodcut 20 × 20 cm 2012

The Witness ＃ 002 單版複刻．Woodcut 20 × 20 cm 2012

The Witness ＃ 003 單版複刻．Woodcut 18 × 18 cm 2012

The Witness ＃ 004 單版複刻．Woodcut 18 × 18 cm 2012

The Witness ＃ 005 單版複刻．Woodcut 20 × 18 cm 2012

The Witness ＃ 006 單版複刻．Woodcut 18 × 20 cm 2012

The Witness ＃ 007 單版複刻．Woodcut 21 × 20 cm 2012

The Witness ＃ 008 單版複刻．Woodcut 20 × 21 cm 2012

The Witness ＃ 009 單版複刻．Woodcut 25 × 20 cm 2012

The Witness ＃ 010 單版複刻．Woodcut 25.5 × 20 cm 2012

2013-14 家中的妳 Memories of My Family 相較於前系列主要聚焦於單一性物件的特寫，《家中的妳》是用 13 種顏色刻畫多種起居器皿並藉由華人南洋風味的磁磚圖紋等背景指示出「家」的場域。綺麗懷舊的物件與背景也可見是 2011 年作品 My Motherland’s Motif 的陶版創作延續於紙上。 Compared with the previous series that gives portrait to single specific object, “Memories of my Family” presents several kinds of living utensils by thirteen colors and points out “Home”,as indicated location by using Baba Nyonya style tile patterns as background. The nostalgic, fancy objects and background can also be traced back to artist’s previous “My Motherland’s Motif” series which is made by silkscreen on ceramic in 2011.

家中的妳 001 Memories of my Family 001 單版複刻．Woodcut 23 × 18 cm 2013

家中的妳 002．Memories of my Family 002 單版複刻．Woodcut 18 × 25 cm 2013

家中的妳 003．Memories of my Family 003 單版複刻．Woodcut 18 × 25 cm 2013

家中的妳 004．Memories of my Family 004 單版複刻．Woodcut 17 × 28 cm 2013

家中的妳 005．Memories of my Family 005 單版複刻．Woodcut 17 × 28 cm 2013

家中的妳 006．Memories of my Family 006 單版複刻．Woodcut 17 × 28.5 cm 2013

家中的妳 007．Memories of my Family 007 單版複刻．Woodcut 17 × 28 cm 2013

餐桌上的妳．Memories on the Dining Table 單版複刻．Woodcut 60 × 91 cm 2014

喃喃．Murmur 單版複刻．Woodcut 62 × 86 cm 2014 午餐的記憶．Memories of lunch 單版複刻．Woodcut 60 × 46 cm 2014

嫁妝的記憶．Memories of dowry 單版複刻．Woodcut 60 × 46 cm 2014

2014 溫度記憶 Touching Memories 這一系列的作品與先前相較顯得更加地華美風光，器皿像是模特兒一般按照回憶的角度擺著自信的姿勢。它們的溫度不僅是來自於盛器裡所裝載的與唇手相觸時所留下的感受，也更蘊含著藝術家對於物件所產生的情感溫度。 “Touching Memories”appears to be even more gorgeous and brilliant compared with previous series. The utensils are models confidently posing the exact angle of memories. Their temperature is not only conveyed from what’s inside the utensils and the feeling left when touching with lips and hands; they are also conveying the emotional temperature from the artist toward the object.

溫度記憶 001 Touching Memories 001 單版複刻．Woodcut 26.5 × 25 cm 2014

溫度記憶 002 Touching Memories 002 單版複刻．Woodcut 26.5 × 25 cm 2014

溫度記憶 003 Touching Memories 003 單版複刻．Woodcut 26.5 × 25 cm 2014

溫度記憶 004 Touching Memories 004 單版複刻．Woodcut 26.5 × 25 cm 2014

溫度記憶 005 Touching Memories 005 單版複刻．Woodcut 26.5 × 25 cm 2014

溫度記憶 006 Touching Memories 006 單版複刻．Woodcut 26.5 × 25 cm 2014

溫度記憶 007 Touching Memories 007 單版複刻．Woodcut 26.5 × 25 cm 2014

溫度記憶 008 Touching Memories 008 單版複刻．Woodcut 26.5 × 25 cm 2014

溫度記憶 009 Touching Memories 009 單版複刻．Woodcut 26.5 × 25 cm 2014

溫度記憶 010 Touching Memories 010 單版複刻．Woodcut 26.5 × 25 cm 2014

物件、色彩、家族：饒祗豪的版畫藝術

文 / 高森信男

自從 50 年代開始，隨著國民政府撤退來台 , 華裔馬來西亞美術家的留學重鎮從戰前的上海及福建地區，轉移到了台灣。台灣的美術教育體系，也自 50 年代開始，培育出不少重要的華裔馬來西亞美術家。但是隨著留學歐、美、澳日漸容易 , 以及改革開放後的中國，逐漸成為亞洲地區的當代藝術重鎮 , 這股留台趨勢已經日漸衰退。1984 年生於馬來西亞森美蘭州（Negeri Sembilan）芙蓉（Seremban）的饒祗豪（YOW CHEE HOE），正是在這留台熱潮已經衰退的時代，放棄留韓獎學金，選擇來到台灣的北藝大就讀。對於馬來西亞的華裔社群來說，台灣作為想像中的「華人國家」，多少扮演著「他方故鄉」的角色。然而在台灣等待著饒祗豪的，並非想像中可包容全球華裔的華人文化母體 , 而是在經歷了解嚴政治浪潮和本土化運動之後，自母體分離而出的「南洋他鄉」。台灣的藝術圈和美術學院，焦慮地建構、拆解和重構台灣藝術的主體性 , 以及忙錄地替台灣的國際能見度制訂各種戰略。在這種過程中，華

裔馬來西亞留台生的藝術語彙和生命課題，被拒斥成為了邊緣化的語境。一個在馬來半島，遭受到當地政府拒斥的邊陲華裔文化 , 在另一個邊陲的「華人島國」，同樣遭遇到了被拒斥的命運 , 這種多重的拒斥狀態，或著說是多重的無歸屬狀態 , 替華裔馬來西亞留台生設下了困局，但也同時成為了重塑藝術家精神故鄉的推力。饒祗豪和許多華裔馬來西亞留台生一樣，無法在「應許之地」中找到對等的發聲空間 , 這種外在的推力迫使藝術家重新思考其出生地馬來半島，重新作為一個可被定義為「家鄉」的精神空間。無奈的是，馬來西亞作為一座「家鄉」，是陌生的；它在語言敘述中是貧乏的：這座殘骸由無法參與的國族、不曾被教授的本土美術史、熟悉的美食、和憂鬱的熱帶所構成。在這片荒蕪之中，唯一熟悉、可靠的精神故鄉，即是來自「家庭」中的記憶。饒祗豪緊緊抓著成長記憶中的家中物件 , 透過這些日常物件，藝術家找到了一條細緻且深邃的通道，得以重回陌生的故鄉。

從 2010 年開始，饒祗豪的系列創作《媽媽的鐵飯碗》中，藝術家將其裁縫師母親的手工工具，作為版畫創作的主題。在《媽媽的鐵飯碗》創作系列中，藝術家透過木刻版畫的特質，將母親工作的勞動性，加以視覺化 , 母親的形象雖然從未出現在畫面之上，但是隨著木刻版畫樸實的質感和溫暖的配色設計 , 讓母親的意象不斷地在不同的物件之間被強化。而饒祗豪也透過開創這個創作系列，重新回到了最貼近自身記憶和經驗的真實故鄉。藝術家將情感寄託於物件，透過了物件重構了自身成長的「家」, 這種重構的動作不僅為藝術家自身提供慰藉，同時也是重要的文化線索，讓藝術家得以進入到更廣泛的議題。饒祗豪於 2013 年開始了《家中的妳》創作系列 , 母親的勞動身影開始淡出，藝術家轉而重新描繪家中伴隨成長的鍋、碗、瓢、盆等餐具類日用品。藝術家此時已經有足夠的自信，得以重拾自身的文化語彙 , 這個語彙是由粉紫、草綠、鵝黃、鮮紅及天藍，在黑底之上所染出的絢爛色彩：饒祗豪透過大膽的運用峇峇娘惹文化的色彩

體系，重新建構出成長經驗中的日常用品，其背後所代表的群體文化。在《家中的妳》創作系列之中，我們可以看出藝術家對日用品的描繪，已經從家庭記憶開始擴大為集體的族群記憶 , 透過這些物件的形制、色彩、以及藝術家的再詮釋，苦尋不著的「真實故鄉」，似乎也隱晦的浮現了出來。《家中的妳》創作系列，跳脫大敘述式的史觀 , 透過仿若田野調查般的微觀式視角，將日常物件採集、轉化為一張張版畫。這些版畫彷彿是一則則視覺化的故事 ,; 透過這些故事的形式細節，藝術家才得以重構出自身的家族史。而觀者也透過了這些窗口，得以去辯證和追溯南洋華裔移民的記憶和認同。饒祗豪的創作歷程可以被簡略的譬喻成是一場「奧德賽」之旅，他的作品所乘載的記憶厚度，是屬於個人的、同時也是屬於南洋華裔族群的集體記憶 , 而這場關於記憶的返鄉之旅，也唯有透過一次次的創作實踐、和一道道的版畫程序，才能引領藝術家和觀者，逐步的回到自身記憶中的故鄉。

Object, Color, Family: Print Art of Yow Chee Hoe by Nobuo Takamori

Since the retreat of the National Government to Taiwan in the

the Malay Peninsula and also suffered the same fate on the

50’s; post war education in Fujian and Shanghai switched to

other “Chinese island”; multiple status of rejection or no sense

Taiwan education for Malaysian artists. During the 50’s, Taiwan

of belonging leaves behind a dilemma for Malaysia students in

also cultivated several important Malaysian artists. As studying

Taiwan. It also becomes a helping hand in rebuilding an artist’s

in Europe, America and Australia became increasingly easier

spiritual home.

and the change of China’s revolutionary reform became more open; the trend for artists to pursue education in Taiwan began

Yow Chee Hoe, like several other artists that came to Taiwan

to weaken. In 1984, Yow Chee Hoe (from Negeri Sembilan,

cannot find an equivalent voice in this “Promised Land.” This

Malaysia) was one of the artists who gave up a Korean

outward thrust forces artists to rethink their place of birth and

scholarship in order to study in Taiwan during this weakened

redefine their hometown spirit. What’s more frustrating is for

recession boom.

Malaysia to become a “hometown” is unfamiliar. It lacks in language descriptions, the pile of debris cannot participate in

According to Malaysian social groups, Taiwan as an imagined

the nation and cannot be structured upon a local professor’s art

“Chinese nation” more or less plays a role as the other party.

history, familiar culinary and tropical depression. In this barren

However, what was waiting for Yow Chee Hoe was not the same

land, the only familiarity and reliable spiritual home comes from

imagination that embodies the entire Chinese cultural matrix; but

the memory of “family.” Yow Chee Hoe tightly grasps on to

the separation that came after experiencing a wave of political

objects in his family growing up; through these everyday objects,

understanding and strict localization movement. Taiwan’s art

the artist discovers a delicate yet deep tunnel to return to an

scene and academies anxiously deconstructs and reconstructs

unfamiliar homeland.

Taiwan’s subjectivity of art and rapidly strategize several tactics

for international recognition. During this process, the art

Since 2010, Yow Chee Hoe’s collection of “My Mom’s Occupation”

vocabulary and life lessons for Malaysian artists that reside in

focuses on his mother’s hand tools as the theme of creation.

Taiwan have been subjected to only marginalize contexts. For

In this series, the artist uses the quality woodblock prints to

someone who has been rejected by the local government on

portray the labor of his mother and emphasizes on visualization.

Although the image of his mother never appears on canvas, but

of print art. These sheets of art resemble a visual story; through

along with the wooden texture and warm earth color designs; the

these detailed “stories” the artists can reconstruct their own family

imagery consistently strengthens on various objects. The artist

history. This provides a window of opportunity as well for the viewers

places his emotions in the hands of his objects; through these objects

to decipher and recognize traces of South Pacific heritage.

he reconstructs his own “home.” This movement not only provides solace for the artist, but at the same time becomes a crucial cultural

Yow Chee Hoe’s creative journey can be compared as a metaphor

clue allowing the artist access to a broader range of topics.

of the “Odyssey Tour.” His art works contains layers upon layers of memory that belongs to him yet also belongs to the collective memory

In 2013, Yow Chee Hoe began his series of “Memories of My Family.”

of the South Pacific Chinese population. This journey of the return

The mother’s labor figure gradually fades and the artist depicts

to homeland; and only through creative practice and procedures of

objects that has accompanied him in his growth like; pots, bowls,

print art can therefore gradually guide the artist and viewers to their

pans, ladles and etc. At this point, the artist has built up enough

hometown memories.

confidence to rediscover his cultural vocabulary. This vocabulary is composed of purple, green, yellow, red and sky blue colors dyed on black backgrounds that display brilliant colors. Yow boldly uses Baba Nyonya’s color system and reconstructs the daily necessities in his experience of growing up which is represented by cultural groups. In this series, we can observe the artist’s depiction of everyday necessities broadening from family memories to collective memories of ethnic families. Through the shapes of these objects, colors and the artists’ re-interpretation; the search for the “real homeland” seems to emerge out of obscurity. “Memories of My Family” escapes the narrative of historical view; through microscopic like perspective it collects everyday objects and transforms them on sheets and sheets

圖版

2010

1. 紅剪刀 · Red Scissors 單版複刻 · Woodcut 30 × 26.5 cm 2. 紫針線包 · Violet Needles Ball 單版複刻 · Woodcut 30 × 26.5 cm 3. 您的剪刀 ? · Your Scissors ? 單版複刻 · Woodcut 35 × 26.5 cm 4. 您的針線包 ? · Your Needles Ball ? 單版複刻 · Woodcut 35 × 26.5 cm

圖版

2011

7 8

5. 剪刀 · Scissors 單版複刻 · Woodcut 70 × 101 cm 6. 針線包 · Needles Ball 單版複刻 · Woodcut 70 × 101 cm 7. 縫紉機 · Sewing Machine 單版複刻 · Woodcut 150 × 240 cm 8. 電熨斗 · Iron 單版複刻 · Woodcut 150 × 240 cm 9. 媽媽的工作桌 · Mom's Working Table 單版複刻 · Woodcut 76 × 112 cm

圖版

2011

1. 容器裡的針線包 · Needles Ball in the Container 單版複刻 · Woodcut 56.5 × 76.5 cm

3. 回憶針線包 · Memorizes the Needles Ball 單版複刻 · Woodcut 26.5 × 38 cm

4. 線與尺 · Needles and Ruler 單版複刻 · Woodcut 38.5 × 56.5 cm

2. 天線寶寶針線包 · Teletubbies Needles Ball 單版複刻 · Woodcut 38.5 × 56.5 cm

5. 媽媽，您的電熨斗 · Mom, Your Iron 單版複刻 · Woodcut 38.5 × 56.5 cm 6. 媽媽的配備 · Mom's Equipment 單版複刻 · Woodcut 76 × 112 cm

圖版

2011

紗剪 · Thread Clippers

粉土 · Tailor's Chalk

梭子 · Shuttle Hooks

裁縫小三寶 · Sewing 'Special' Tools 單版複刻 · Woodcut 38 × 28 cm

圖版

2012

媽 , 您用的針如此銳利 Mom, the needles you used really sharp 單版複刻 · Woodcut 76 × 112 cm

魚頭針插 Fish Head Needles Ball 單版複刻 · Woodcut 76 × 112 cm

圖版

2012-14

2 3

1. 針線包 II · Needles Ball II 單版複刻 · Woodcut 38 × 28 cm 2012 2. 魚 · Fish 單版複刻 · Woodcut 17×26.5 cm 2013 3. 阿吉馬 · Lucky Horse 單版複刻 · Woodcut 9.5 × 17 cm 2014

圖版

2014

馬來獻瑞 · Presenting Good Fortunes 單版複刻．Woodcut 28 × 44.5 cm 2014

圖版

2011

家鄉的紋 My Motherland’s Motif Series 陶版絹印 Silkscreen on ceramic 8 × 8 cm

圖版

2011

家鄉的紋 My Motherland’s Motif Series 陶版絹印 Silkscreen on ceramic 8 × 8 cm

圖版

2011

家鄉的紋 II My Motherland’s Motif Series II 陶版絹印 Silkscreen on ceramic 12 × 12 cm

圖版

2011

家鄉的紋 II My Motherland’s Motif Series II 陶版絹印 Silkscreen on ceramic 12 × 12 cm

饒祗豪 1984

學歷 2010-2014 國立臺北藝術大學美術創作研究所主修版畫，Master of Fine Art (MFA) 2006-2010 國立臺北藝術大學美術系主修版畫，Bachelor of Fine Art (BFA) 2002-2004 馬來西亞藝術學院美術系主修油畫，Diploma of Fine Art 個展 2014 「A Motherland Dairy – 裔饗日記」個展，旻谷藝術，台灣台北。 2011 「My Mom's Occupation - 媽媽的鐵飯碗」個展，台灣台北典藏藝術空間三館。 2005 「My Patchwork Blanket」個展，馬來西亞吉隆坡 ARTrageously Ramsay 美術藝廊。展覽 2014 2014 2013 2013 2012 2012 2012 2012 2012 2011 2011 2010 2010 2009 2008 2008

「第六屆臺北國際當代藝術博覽會」，晶華酒店，台灣台北。「中華民國第 29 屆版印年畫展」，國立台灣美術館，台灣台中。「臺北國際藝術博覽會」，臺北世界貿易中心一館，台灣台北。「中華民國第 28 屆版印年畫展」，國立台灣美術館，台灣台中。「國際版畫三年展」，土耳其伊斯坦堡。「國際版畫三年展」，瑞典法倫。「第十五屆中華民國國際版畫雙年展」，國立台灣美術館，台灣台中。「III Bienal Internacional de Grabado-Aguafuerte Provincia De Valladolid 2011」，西班牙瓦拉多利德。「中華民國第 27 屆版印年畫展」，國立台灣美術館，台灣台中。「19th Estampa de Madrid」，西班牙馬德里世貿中心。「中華民國第 26 屆版印年畫展」，國立台灣美術館，台灣台中。「第十四屆中華民國國際版畫雙年展」，國立台灣美術館，台灣台中。「16. Rocniku Gelostatni Souteze Grafika Roku 2009」，V Clam-Gallasove，捷克布拉格。「Toto Nejsme my」，Aula 美術館，捷克布諾。「第十三屆中華民國國際版畫雙年展」，國立台灣美術館，台灣台中。「跨領域－未來藝術先驅 Here, There, and Everywhere – Anticipating the Future of Art」，台灣關渡美術館，台灣台北。

獲獎 2014 2012 2012 2012 2012 2010 2010 2008 2004 2001

中華民國第 29 屆版印年畫首獎。土耳其伊斯坦堡國際版畫三年展入選。瑞典法倫國際版畫三年展入選。第十五屆中華民國國際版畫雙年展入選。 III Bienal Internacional de Grabado-Aguafuerte Provincia De Valladolid 入選。第十四屆中華民國國際版畫雙年展入選。 16. Rocniku Gelostatni Souteze Grafika Roku 2009，捷克全國版畫展入選。第十三屆中華民國國際版畫雙年展入選。馬來西亞諾基亞 (Nokia) 油彩暨設計比賽，諾基亞 (Nokia) 油彩組得主。馬來西亞藝術學院第 17 屆全國美術與設計甄拔賽，三年全免獎學金。

其他 2013 獲選赴新加坡泰勒版畫工作室 (STPI) 實習。 2009 獲校選赴捷克布拉格藝術學院任國際交換學生一學期。

Yow Chee Hoe Born 1984

Artistic Education 2006-2014 Master Degree of Fine Art, Taipei National University of the Arts, Taiwan R.O.C. 2006-2010 Bachelor Degree of Fine Art, Taipei National University of the Arts, Taiwan R.O.C. 2002-2004 Diploma in Fine Art, major in Painting, Malaysian Institute of Art, Kuala Lumpur, Malaysia. Solo Exhibition 2014“ A Motherland Dairy”, Ming Art Gallery, Taipei, Taiwan R.O.C. 2011“Mommy's Occupation”, ARTCO de Cafe, Taipei, Taiwan R.O.C. 2005“My Patchwork Blanket”, ARTrageously Ramsay Ong The Art Gallery, Kuala Lumpur, Malaysia. Group Exhibitions 2014“Young Art Taipei”, Regent Taipei, Taipei, Taiwan. 2014“The 29th R.O.C New Year Prints Exhibition”, National Taiwan Museum of Fine Arts, Taichung, Taiwan R.O.C. 2013“Art Taipei”, Taipei World Trade Center, Taipei, Taiwan. 2013“The 28th R.O.C New Year Prints Exhibition”, National Taiwan Museum of Fine Arts, Taichung, Taiwan R.O.C. 2012“ International Triennial of Graphic Arts”, Istanbul, Turkey. 2012“ International Triennial of Graphic Arts”, Danarlas Museum Falun, Sweden. 2012“The 15th International Biennial Print Exhibition, R.O.C”, National Taiwan Museum of Fine Arts, Taichung, Taiwan R.O.C. 2012 “III Bienal Internacional de Grabado-Aguafuerte Provincia De Valladolid 2011”, Sala de Exposiciones del Palacio Pimentel, Valladolid, Spain. 2012“The 27th R.O.C New Year Prints Exhibition”, National Taiwan Museum of Fine Arts, Taichung, Taiwan R.O.C. 2011“19th Estampa de Madrid”, Feria de Madrid, Spain. 2011“The 26th R.O.C New Year Prints Exhibition”, National Taiwan Museum of Fine Arts, Taichung, Taiwan R.O.C. 2010“The 14th International Biennial Print Exhibition, R.O.C”, National Taiwan Museum of Fine Arts, Taichung, Taiwan R.O.C. 2010“16. Rocniku Celostatni Souteze Grafika Roku 2009”, V Clam-Gallasove Palaci, Prague, Czech Republic. 2009“Toto Nejsme my”, Aula Gallery, Brno, Czech Republic. 2008“The 13th International Biennial Print Exhibition, R.O.C”, National Taiwan Museum of Fine Arts, Taichung, Taiwan R.O.C. 2008“Here, There, and Everywhere – Anticipating the Future of Art”, Kuandu Museum of Fine Arts, Taiwan. Awards 2014 Grand Prize, The 29th R.O.C New Year Prints, Taipei, Taiwan. 2012 Selected Prize, International Triennial of Graphic Arts, Istanbul, Turkey. 2012 Selected Prize, International Triennial of Graphic Arts, Falun, Sweden. 2012 Selected Prize, The 15th International Biennial Print Exhibition, R.O.C. 2012 Selected Prize, III Bienal Internacional de Grabado-Aguafuerte Provincia De Valladolid 2011. 2010 Selected Prize, The 14th International Biennial Print Exhibition, R.O.C. 2010 Selected Prize, 16. Rocniku Celostatni Souteze Grafika Roku 2009. 2008 Selected Prize, The 13th International Biennial Print Exhibition, R.O.C. 2004 Nokia Creative Art Award, Upstart 2004 –The Nokia Arts Awards Competition. 2001 3-years Scholarship Award, The 17th Nationwide Art & Design Scholarship Award Competition, Malaysian Institute of Art. Other 2009 Internship at Singapore Tyler Prints Institute (STPI). 2009 Selected in the exchange student program to Academy of Fine Arts in Prague (AVU), Czech Republic for one semester.

Director 發行人 Christine Cheng 鄭筑尹 Designer 美術編輯 Lyla Li 李佳玲 Ting-Wei Yeh 葉庭瑋 Editor 文字編輯 I-Hsuan Chiang 江依璇 Translators 翻譯 Peggy Wu 巫佩諭 Publisher 出版 Ming Art Center 旻谷藝術國際有限公司 Address 地址 1F, No.295, Sec.2 Tiding Blvd., Neihu Dist., Taipei, Taiwan 台北市內湖區堤頂大道二段 295 號 1 樓 Tel 電話 +886 2 2658 6600 Published in 2014.06 2014 年 6 月初版

ISBN 978-986-85755-3-0