«榕壠 mise en abyme »
很久很久以前有一棵樹，根在臺灣，幹在法國，枝葉在全世界裡悠遊飄揚...
漂浮游移於多個世界之間(地方Places / 非地方Non-places)，藉由多重媒材、聲音及影像在時間中留下走過的痕跡，並且留住那些片刻美好的回憶 : 扣人心弦的西拉雅牽曲、迎來夏至的蟬鳴、遙遠的渡海神話、讓人忘了身在何處的扇形鹽田、佳里紅吱吱(臺語)的火鶴和佳里阿嬤有趣艱深的臺語歌...以及，我與這兒古老靈魂的對話...
時間和空間是最動人的催化劑，流動的記憶加深了觀者多重感官且不同層次的感受，猶如顯影劑般地慢慢浮現，並且引領觀者進入一種似曾相識的奇異氛圍(Uncanny)及一種多重解讀的mise en abyme (abîme).
*mise en abyme (法語) : 法國作家安德烈紀德André Gide開創提煉的一種中心敘事方法，一環套一環，一個故事裡夾套另一個故事，有如漣漪和鏡淵(鏡中鏡、戲中戲...)，中文譯為套層結構、敘事內鏡或紋心結構。
A long, long time ago, there was a tree, rooting in Taiwan, standing tall in France, branching and waving leaves freely and boundlessly to the whole world…
Drifting and wandering in various worlds (places/non-places), the artist uses multimedia, sounds, and videos to leave footprints in time while capturing those sweet moments of memories: the soul touching Kan-kei (ceremonial songs of Siraya), cicadas chirping for summer solstice, the remote myth of the sea voyage, the fan-shaped saltern that makes you forget where you are, the flaming red flamingo lily and the intriguing and unfathomable Taiwanese song sung by an elderly lady in Jiali, as well as the dialogues between me and the ancient soul.
Time and space are the most active catalysts. Flowing memories intensify the viewers’ multiple senses and layers of feelings, which emerge slowly and gradually like the effect of developer. The viewers are then immersed in an uncanny atmosphere of déjà vu andmise en abyme (abîme) with multiple interpretations.
* mise en abyme (French): it is a technique of the central idea narrative innovated and refined by the French author André Gide. Referring to the literary device of inserting a story within a story, it suggests a recurring sequence, such as a ripple or a visual abyss (mirror within a mirror or story within a story). In Chinese, the term is translated into a recursive structure, mirroring narrative, or a structure of self-reflexive embedding.
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