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The Wasteland | WU, Chien-YI Solo Exhibition

給 南方的風

偉大的蛇

 

將你的光 為我們盤繞

教我們 蛻下過去

如你 蛻去陳舊的皮

教我們 輕巧地 行走

教我們 美妙的方式

To the winds of the South:
Great Serpent,

Wrap your coils of light around us,
Teach us to shed the past the way 
you shed your skin;

To walk softly on the Earth,
Teach us the Beauty Way。


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The shamanic four winds medicine wheel is a life-long、endless journey that attempt to trace back where our soul grow, like season cycles,we keep the round trip between different directions where every trip carry a specific lesson for us;perhaps, in such sense, I will call my living in Fu-Zhou experience The South、The Land , and The Great Serpent.

I have been running Wasteland Art Space for almost 3 years in Fu-Zhou area, the place that I have spent my childhood for quite a while. I didn't really know how those things get started and to be done, or maybe I just couldn't find a word.


Words, words, words, sometimes I'm not really sure where they lead us to? Explanation bring a closer understanding between us , or in most cases that we normally be constrained in the word frame. 
Finding an accurate word is like to grab a small chance to deliver some light from the universe and stars. All the effort that we put on writing actually is very similar to the art expressions. 

In the book of 《 The Poetics of Space》, A French philosopher Gaston Bachelard mentioned the inherent quality and texture of the imagery of a simple house (la maison) and the cosmic sense co-exist in our deep and board conscious.

As he remind us, from the view of his own phenomenology, there will be no room for secrets to hide in a over-decorate mansion ; beauty destroy the sense of intimacy. Therefore, the first and the original house where we were born, the house in which we inscribed various living functions and levels, and the house that provided us with the inner land of our own, must be simple and simple. 

The essence of this simple house,build up our personalities and unique textures, makes it the original form of a house that accommodates all memories and all the homes that we come to experience later. If a local place can be seen as a form of a home imagery, I would say that Fu-Zhou may works as the first house that raise up my beginning textures — a simple and humble free land. 

During this period of time, by running the Wasteland Art Space and the Ca'fe , the feeling of charcoal drawing on my hands has long gone, all I remember is different smell from various hand creams after washing dishes that always reminds my days. 

Now I start to draw again, as all experiences start to work as a gift from the daily life over years, there comes this exhibition, it helps me to remark for the good days and hard days, to remark all sweet and great memories come from this place.


There are also some pictures display on the exhibition site, together with sentences and my free sketching works. Those photo shots with no intension to show or exhibit in the beginning while the flash lights on. Therefore, I will not call them " photographs" , but snap shot on a street instead. Those photos actually contained a timeline and a daily route、 the scenes that I have been stood somewhere in time and seeing, the street I keep comes and goes. 

There is a possibility that all 3 elements will work as a form of Total writing/ Holistic writing , a sketching as a whole. There is also a possibility that new things will born from their inter-reaction with each other. Perhaps they bring us a map、show us a route that oriente a dream state. 

 


Where the Great Serpent shed her skin,
The new chapter opens 
 

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「土地告訴了族人,說它會永遠照顧他們。」

The Land told its family that it will always take care of them.

《事物的居所》

必然的偶然;或者偶然的必然。它就被擱置在那兒;說是被擱置,似乎更像是棲息在那裡。也許透過了某人的雙手和某個事件,終於它被擱置到那個、為它所準備好的地方。對旁人來說可能因暫時的無用而彼此依靠、堆疊和存放起來路邊的石板,成為它的住所;提供它小睡、休憩的忠實建材。

 

《Where things stay》

Obviously a coincidence, or a coincident destiny, the glove have been left upon there. The gesture, is closer to a rest and quiet mood rather than being left behind.Perhaps, it finally arrive that place by consistently experience someone's hand and certain events, finally, it arrive where have been long prepared and ready for it to take a snap somewhere under the sun — the slate.

The slate, rely on each other while temporarily have no use and have been stored outside.

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《煙蒂筒與路燈》

 

懸宕的事物經常仍抱保持著功用:它知道如何在傾斜的狀態中抱持平衡;同時透過自身,提供那不經意的視野、或者包容。

《Cigarette can and street light》

 

Hanging or leaning over one side, suspending things often keep its function that bring us the secret of balance; bring us the alternative view from their unique position; showing us their heart of acceptance.

 

 

 

< 赤腳的人 >

 

 

幾乎沒有任何保護地、他赤著腳穿梭在巷弄與街道之間。 從他家敞開的鐵捲門前,拜訪鄰居、或者只是經過;他可能一直走到不遠處的菜市場,也或許走進了市場的深處,經過各種水果攤和賣菜的小販、散步到不知名的地方,又從另外一個截然不同的方向走了回來;好像這些在豔陽下曬的滾燙的柏油路面、好像這些雨天帶來的泥濘沙礫、這些菜漬廢水、水窪 、煙蒂 、泥土、落葉的屍體、狗步行的足跡;好像這些對他來說都無關緊要。 他光著腳走在路上的感覺,就像是回到家中脫掉了令人感覺疲憊的鞋子之後,舒服地踩在客廳地毯上、或者剛剛踏進了臥室木質地板的那樣。

 

 

他散步的路徑可近可遠,卻自由來去、毫無負擔。他缺乏保護的雙腳儘管粗糙,卻像只是穿梭在他的房子、他的客廳、他的廚房、和他的玄關之間。每ㄧ個細微之處都擁有他的目光,每一種渺小的形貌、氣味和遭遇,都被他的皮膚接納;透過雙腳、在他現象學式的觸覺感知之下,世界生出了新的質地。

 

 

我想他一定也曾路過某棵大樹下成排擺放都各種形狀、各種尺寸的椅子吧:木製的、塑膠的、笨重的、輕巧的、高的、矮的、陳舊的、僵硬的、舒適的;有時人們會在那兒獨自坐著,有時人們聚集。

 

 

每ㄧ次,我都先注意到他赤裸的雙腳、腳跟和腳踝、他走路的方式;或許是因為,我不明白他怎麼能夠這樣子自在的走著? 他的雙腳和土地之間所擁有的那種關係,使得我腳上所穿著的鞋子似乎稍顯笨拙;我好奇的思考著他何以如此勇敢? 後來,我了解到,ㄧ顆敞開的心根本無須勇氣。

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《 鐵道下的畸零菜田 》

 

那可以說是個三不管地帶吧。也可能是一個沒有人會特別去注意到的地方;大多數的時候,生長中的菜葉或植物,可以偽裝成路邊的盆栽或雜草。 狗兒陪伴他做所有的事。

 

在這樣一個非常狹長的畸零地帶,特別是位於車流交通轉角的危險區域,怎麼會有人想要偷偷的種植東西呢? 

 

偶爾他跟狗兒也會出現在市場的沿伸角落;這裡的人們都有一個屬於他們的固定角落可以棲息。在市場中,他賣些香草與盆栽;他在他那塊自己尋找到的迷你農地上立了個牌子,告訴有需要的人們可以與他分享他所種植的那些蔬菜。

 

狗兒陪伴他做著所有的事。當炎熱的中午市場都準備休息的時候,他便將狗兒裝在腳踏車的前籃中,載著狗兒,經過荒原。

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《 挽面 》

懷抱著耐心修剪ㄧ棵大樹,如親密的為某人修整儀容:一手扶著它的枝葉、一手捧著她的臉頰;使用著犀利的工具卻避免帶來傷害;為生命清理,隨著時間和成長所堆積的堵塞、除去多餘的重量、負擔;使一棵樹木如一個人,或使一個人如一棵樹般:乾淨、整齊、清潔。

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《 榮家側門 》

為了讓小門變成大門,ㄧ棵大樹傾倒。長遠的年歲和樹蔭,穿梭期間的枝幹和綠葉,造成一日車流短暫的堵塞。

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< 人型模特 >

 

短暫的崩塌和長期的懸掛,傾斜的方式可能是相似的;

又或是懸殊的;也許它們彼此太靠近了,因而使得它們在不同的時間中

​仍然散發著相似的氣息。

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有個孩子往前走著,日復一日。
他會成為所見的第一個事物,
而該事物也在那天、那天的某個時刻、
好幾年、或以年為週期成為他的ㄧ部分。

 

There was a child went forth every day,And the first object he looked upon and received with wonder or pity or love or dread, that object he became,And that object became part of him for the day or a certain part of the day . . . . or for many years or stretching cycles of years.

— Walt Whitman 

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