過去的台江內海在荷蘭人的古文獻中稱之為「鯨骨之海」，不知是因為內海中逐年淤積的沙汕浮出水面有如鯨魚的背脊，或是時常有鯨魚迷航進入內海，而擱淺於被稱作「鯤鯓」的沙洲上？
而不論是鯨骨之海或是倒風內海，都在溪水不斷氾濫改道、河床淤積的情景下，原先寬廣的內陸海洋與出海口一點一點地消逝，地理學上將這一現象稱之為「陸浮」。
現今只剩下七股、北門湖和西海岸密密分佈的魚塭還留著一些蛛絲馬跡，而台灣的製鹽史也彷彿內海陸浮後的遺址，以鹽的形象結晶在地表。在全球暖化的現在，我們彷彿站在近未來的視角，看著曾經被土地填起的滄海逐步回升，是否連海翁（西拉雅語中的鯨魚）也想要回到它陸地祖先的居所呢？而對於海的嚮往並著迷於巨魚傳說的我們，遊走在古蕭壠半島的邊緣上，用身體描繪著倒風內海的輪廓。駐村計畫起自2019年的展覽《內海》，在為期三個月的駐村時間裡，以空間場域、劇本書寫和影像等手法延伸此計劃，試著參透、想像「陸地上的海」與「海河交界的陸地」在今昔之間互為表裡的過程。影像圍繞在由內海、鹽與鯨魚交織而成的地誌、神話為索引對象，以及內海意象的消失之於台灣在精神意義上的顯現。
林盈潔，1994年生於彰化，現生活創作於台南。作品多為複合媒材空間裝置，問題意識來自生活中移動與寓居的經驗，試圖重新提出那些普遍經驗裡，較難觸及和想像的脈絡。並透過場面調度、閱讀路徑等，將其營造為另類感性流動的場域，與其如何再次被安置於現實之中，成為可感事件的動能。
張根耀，1992年生於台北，現居台南。創作涉及雕塑與現地裝置，關注空間至環境中各種曖昧難辨的場所與異常風景，透過身體對雕塑、現成物的凝視角度翻轉，並深入環境的歷史時序。近期嘗試藉由影像的交錯、錯位， 延展出另一層對於現實空間的思考。
Tai-jiang Inland Sea, formerly known as the “sea of whale bones” in Dutch ancient literature, could probably be given the name for the shoals that looked like whale backs rising from water. Or maybe there had been whales losing their ways here and got stranded on the sandbanks called “kun shen (the body of a giant fish)”?
However, with the constant overflowing and diversion of rivers, no matter for the sea of whale bones or Daofong Lagoon, both the estuaries and the areas of inland seas are vanishing gradually because of riverbed silt. The phenomenon is called “Floating Island” in geography.
At present, we can only find some traces of these inland seas in Qigu and Beimen Districts as well as in those fish farms densely located along the west coast. The history of salt production in Taiwan is just like legacy of these inland seas through the imagery of salt crystals on the ground surface after the emergence of floating islands. Nowadays, as global warming is happening, we are seemingly able to envision sea level rise that submerges the land area once again from a futuristic perspective. Is it possible that even hái-iang (whale in Sirayan) aspires to return to land where its ancestors used to live? We, who yearn for the sea while being enchanted with the myth of giant fish, stroll along the border of ancient Soulangh (Siao-long in Sirayan) peninsula and contour the landscape of Daofong Lagoon with our body. The project extends from the artist’s exhibition “Continental Sea” in 2019. During her three-month residency, the artist has linked the projects through utilizing spaces, scripts, writing, and images while attempting to comprehend and envisage the interchangeable relationship between “inland sea” and “land at the border of sea and rivers” from the past to the present. The images refer to topology and the myth that are developed by the inland sea, salt, and whales. The gradual disappearance of the inland seas and what it may symbolically mean to Taiwan shall also be explored.
Lin Ying-chieh, born in Changhua City in 1994, currently lives and works in Tainan. Specializing in mixed media space installation, she has often been inspired by life experiences of moving and dwelling while intending to rediscover and present the contexts that are difficult to approach or imagine in the norms. Her work, an alternative space filled with flowing emotion through mise-en-scene and reading path, can be re-installed in reality and transformed to the energy to push forward perceivable events.
Chang Ken-yao, born in Taipei City in 1992, is currently living in Tainan. His creations mainly cover sculptures and site-specific works. Chang focuses on ambiguous and unusual scenes within spaces and environment. Through overturning his gazing angles towards sculptures or objects, he can further examine history and timeline of the environment. Recently, Chang has attempted to extend his exploration about space in reality by interlacing and misplacing images.
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