島嶼‧環境‧故事

地點: 新竹市美術館 時間: 2017.9.02(六)-10.29(日) 09:00-17:00(週一休館)

吳旻華WU Min Hua

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1988年生於新竹,畢業於彰師大美術系研究所創作組,同時具有藝術教育背景及教學經驗。創作藉由自身排灣族與漢人文化交疊的成長背景以及往返部落的生活經驗,探討在追尋身分認同下體現的文化記憶與個人價值的建構,並反思作為原住民後代所共同面臨的文化認同困境,以及社會變遷下、民族的遷徙和生存議題討論。 WU Min Hua, born in Hsinchu in 1988, graduated from National Changhua University of Education, Department of Fine Arts (Master) and also had the artistic education background and teaching experiences. Her creations were inspired by her growth background of Paiwan and Han culture overlapping, and her life experience that went back and forth to the tribe. Discussed the cultural memory and the construction of personal values when seeking identity, her creations reflected not only the predicament of cultural identity that faced by later generations of the aborigine, but also the issues of the nation's migration and survival when the environment and the society changed. 創作自述 從追溯部落文化開始,企圖還原身為排灣族的後代,個體所承襲的文化意義,以及構成我的生命中獨特價值的經驗是從何而來?長歷程的畫面,與留下深刻情感的記憶點作為創作意念。足跡代表著從母文化的脫離,然曾是人類踏足於此地生長的印證,在漢化以前的高山原住民生活為適應地形遷徙與取得資源,雙腳是日常生活賴以行走交通的工具,尤其在祭典的準備上看著部落婦女以雙腳俐落搓輾小米作業的過程,脫下鞋子後充滿紋路的腳掌,其節奏和視覺的美感,是我深刻的成長記憶。 作品的概念以「足」作為貫穿軸心的意象「手」作為連結記憶的橫向脈絡,兩者交織出的經緯關係拼織創作者對於部落文化的情感印象。
From the retrospective tribal culture, in an attempt to restore the descendants of the Paiwan people, the cultural significance of the individual's inheritance, and the experience of the unique values that make up my life come from? Long history of the screen, and leave a deep emotional memory as a creative idea. The footsteps represent the divorce from the mother culture, but it was the proof of the growth of mankind, and the alpine inhabitants lived in order to adapt to the terrain migration and the acquisition of resources. The feet were the means of daily traffic. The preparation of the festival on the tribal women to feet neat rubbing millet operation of the process, take off the shoes after the feet full of lines, the rhythm and visual beauty, is my deep growth memory.
The concept of the work of "foot" as the image of the axis through the "hand" as a link to the memory of the horizontal context, both of the two intertwined relationship between the latitude and longitude of the creator of the tribal culture of the emotional impression.

參展作品

吳旻華 - 歸來 Backtrack
吳旻華 - 歸來 Backtrack2017 瓷土.紅泥.麻繩 / 尺寸依空間而定 Porcelain、Red clay、Hemp rope / Varied with space 作品以四件一組的形式分別呈現出男人和女人不同的手型姿態,藉由瓷土素燒後呈現的質感以及皮膚一層接著一層撥開的意象欲表達文化外殼與內在實體流逝的現象 The artwork represents the different hand-postures of men and women by a set of four. With the burned-clay texture and the image of peeling skin layer by layer, it display the phenomenonof cultural exterior and fleeting interior.
吳旻華 - 漂流海上的父親樹 / 遷移的痕跡 The Drifting Father Tree / Trace of Relocation
吳旻華 - 漂流海上的父親樹 / 遷移的痕跡 The Drifting Father Tree / Trace of Relocation2017 石膏.土.漂流木 / 尺寸依空間而定 Plaster、Soil、Driftwood / Varied with space 運用翻模的腳掌呈現遷移過程沉重的步伐,每一個腳掌代表的即是仍生活在土地上的親友身分,象徵遷移正在持續進行的歷史脈絡。 Each soles which represent the identity of family stand for the ongoing historical context. It present the heavy footstep of relocation by making the copy of soles.
吳旻華 - 牽繫著行進 Bind with Relocation
吳旻華 - 牽繫著行進 Bind with Relocation2017 陶土 / 尺寸依空間而定 Ceramic / Varied with space 來自四面八方的族人藉由祭典來凝聚情感歷經一代接著一代的搬遷居住,不同的環境景物、不同的族人,不變的是延續百年傳統的慶典舞,在那一刻族人從各地帶回不同的故事交流、分享,延續口述的歷史記憶,交疊累積世世代代的精神象徵。 The clansmen from far and near assemble affections with the festivals. Through the migration of generation by generation, the different environment and clansmen still have the same traditional dance in festival. At that time, the clansmen from everywhere share their stories with each other, and it also continues the historical memory of dictation and spiritual symbol of generations.
王鵬達 WANG Penda 陳妍臻 CHEN Yan Jhen