策展論述

蔓生場—陳依純、陳家翊聯展

文/ 陳永賢

陳依純擅長使用詩性的錄像創作，勾勒傳統工業經歷時代變革後的生活節奏，尤其是自家製模工廠早已停擺的老舊機械，轉化為影像符號來暗喻全球化底層的勞動力低迷景象。陳依純自喻童年伴隨她成長的是工廠機具噪音，就像是音樂盒播送的背景音樂一般，帶給她一種心理撫慰且具有安定感作用，因為機械運作聲響，代表社會底層的勞動者將有飽食機會。此外，擁有家庭式機械工廠的父親來自山裡，總是熱切地與她分享「物件」的造型有多美，也常送她一些金屬物件、廢料或溪中石頭、木條，父女也常討論物件本身的材質訊息，或手工自製工具作為物件討論的對象。在此動念下，陳依純透過創作來回應父親的關愛，其手繪作品〈武器製造局-木製彈弓〉、〈武器製造局-拖腕彈弓〉及〈武器製造局-紙吹箭〉以物件為對象刻劃手工製造的意象，而錄像作品〈半世紀-模具史詩〉則將年幼時接收到心意重新表意，藉由自家舊工廠的老物件，揉合過去成長記憶和個人生命經驗，再次探看「物件」生產與再製的隱喻意涵。

同樣來自父親言行啟發的陳家翊，父女爬山時也常撿拾石頭、木條，甚至對著植物喃喃自語，成了她日後對空間場域和綠色植物的創作因緣。有了這股難忘興趣與經歷，陳家翊透過錄像創作和空間裝置，觀察不同時間的場域結構變化，絮絮叨叨般建構出自己與植物的空間對話，猶如植物蔓延繁殖般的增生擴展、拆解與消失等歷程，試圖將自然生態融入身體感知作為探討核心。另一方面，重組植物的有機造形及動態影像，即便有著被社會遺忘的空間記憶或碎片化的時間點滴，卻同樣充盈著開拓未知的圖景想像。作品〈維度蔓延〉探索自然物和人工物件對照下的蔓延覆蓋，甚至融合為一體；〈未知記憶〉及〈未知計畫〉系列透過結構載體的拆解、組裝、堆疊，與植物符號相互結合，呈現一種感性的凝結狀態，並作為沈默的生態系統寓言。

無獨有偶的，陳依純和陳家翊兩人都是來自父親的啟發，創作過程揉合家庭記憶及切身觀察，在藝術的牽動下各自與創作媒材相遇，展開了一種出自內心真誠卻無需過多言語涉入的對話。在此脈絡下，陳依純對父親形象的刻劃，轉化家庭工廠中的模具鑄造和手繪影像，思辨錄像媒材的意義和物件位址，並折射出個體記憶和產業興衰的指涉。陳家翊則致力於綠色空間和材質裝置實踐，建構了一個充滿記憶碎片的獨特場域，讓作品產生一種雙面向的時空連結，兩者復返於無形的對話之中。她們掙脫了媒材框架與限制，轉移至身體感受所在的自我意識，創造屬於自身境遇的物件與情境。

如上所述，若以植物的生長為比喻，「蔓生場」正是枝枒交錯的蔓生場域，除了指涉創作者與創造意念一同構築的場域，也象徵創作者對於物件材質所認知的擴延場域。當「物件」成為可視材質進入感知系統，人們對周遭事物觀察展開審閱，被編制的物件關係也被視為一種材質詮釋。陳依純與陳家翊試圖重回影像和材質本身，藉由錄像創作和裝置材質等形式來回應客觀可見的當下實態，並探討社會秩序及意識混沌之間的隙縫。同時，他們也置身於父女承傳的場域裡，投射出家庭記憶碎片的痕跡，讓物件自身呈現其物體性等諸多想像。如此，一種物質材料的彎曲或皺褶、接縫或穿透，物件不只是內容再現的載體，此場域本身已蔓延出「物性」（objecthood）的存在意義。

Chen I-Chun is skillful at applying poetic video works to outline the lifestyle of traditional industries which underwent the changes of the times. Especially, the old machines that have been shut down for a long time in the molding factory was transformed into image symbols to indicate the recession of the underclass resulted from globalization. Chen remarked that she grew up with the rumbling noise made by factory machines during her whole childhood, just like background music from a music box, which brought her mental comfort and a sense of security, because the sound of machine operation means that disadvantaged workers could work for live. Besides, her father, who owned the domestic machinery factory, always shared her how gorgeous the “objects” are and gave her some metal objects, scrap, stones and branches from a river. They also often talked about the material messages of “objects” themselves or handmade tools as the targets of object discussion. Because of the motive, Chen responded to her father's love through the art creation. Her paintings Weapon Manufacturing Bureau-Wooden Slingshot, Weapon Manufacturing Bureau-Wrist Slingshot, and Weapon Manufacturing Bureau-Paper Blow Arrow applied objects as a target to build handmade images. Through old objects from the domestic old factory, the video works Half a Century-Mold Epic combined past growth memories and personal life experiences to review the metaphorical meaning of the production and the reproduction of objects.

Chen Chia-Yi was also inspired by her father. They often collected stones and wooden sticks, and even muttered to plants when they went mountain-climbing. These unforgettable interests and experiences became her creation cause of spatial field and green plants in the future. Chen Chia-Yi observed the changes of field structure at different time through video creation and space installation. She iteratively constructed the spatial dialogue between herself and plants as the process of plant reproduction: spreading, decomposing and disappearing, to melt the nature environment into body conscious. On the other hand, although there are spatial memories or time fragments that have been forgotten by society, rebuilding organic shape and dynamic image of plants is filled with imagination of pioneering the unknown. Nature explore that natural objects are gradually covered by the spread of artificial objects, even combined with the sole. Unknown Memory and Unknown Plan No.04 present a perceptual state of condensation and become a silent ecosystem fable through the disassembly, assembly and stacking of the structural carrier.

Coincidently, I-Chun and Chia-Yi’s works were both inspired by their fathers. In their creative process, they wove into it respectively, their family memories and personal observations. Under the influence of art, they encountered materials and unfolded visceral conversations emancipated from the interference of language. Within this context, I-Chun depicted the image of her father, rendered the molding and drawings of the family owned factory, examined the significance of the sites and objects in her video works, which all refracted her memory of the rise and fall of the industry. Chia-Yi, on the other hand, engaged in the praxis of green spaces and material installations and constructed a unique site filled with fragments of her memories, creating a bi-directional connection of times and spaces through silent conversation. They broke away from the framework and limitations of media, relocated to their corporeal consciousness, and created objects and scenes which belong to their private experiences.

If considering the spreading of vegetation a metaphor for creating art, the image of ‘A Sprawling Field’ can be understood as a site of intertwined trailing stems cultivated by the artists and their creative ideas, symbolizing the extended field of the artists’ perception of material objects. When an "object" becomes a visible material that enters the perceptual system, human observation of the surroundings begins. The compiled relationships of objects are also regarded as an interpretation of materials in the perceptual process. Chen I-Chun and Chen Chia-Yi tried to return to the images and materials themselves, using video works and installed materials to respond to the objectively visible reality of the moment, and to explore the fissure between social order and the chaos of consciousness. At the same time, they also place themselves in the field of the father-daughter inheritance, projecting traces of the fragments of family memories, allowing objects to evoke the many imaginations of objecthood. This way, the curves or folds, closure or penetration of an object becomes not merely the bearer of reproduced contents, but the field itself has already extended beyond the existential meaning of "objecthood".