Room 609 游孟書、 張璧蘭 & 柯偉國

游孟書 1979年生於宜蘭，曾於澳洲、美國及中國工作生活，2014年返回台灣宜蘭成立工作室。參與過雅加達雙年展、澳洲陶藝三年展、韓國陶藝雙年展、美國NCECA以及福爾摩沙雕塑雙年展等。作品曾獲藝術銀行及景德鎮陶瓷美術館收藏。

Meng-shu You ,born in 1979 in Yilan, Taiwan, used to live and work in Australia, United States and China, had set up her studio in 2014 in Yilan, Taiwan. Meng-shu had participated the exhibitions of Jakarta Biennale, The Australian Ceramics Triennale, Korea Ceramic Biennale, NCECA in the US., and Formosa Sculpture Biennale. Her works have been public collected by Art Bank Taiwan and Jingdezhen Ceramics Museum.

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張璧蘭 BI-LAN CHANG

創作自述

Artist Statement

此系列作「不毛之地」是我從2018開始的作品。我將身體作為擷取的對象，局部化並搭配上自

然植物，植物是路邊雜草或觀賞花，而身體我覆蓋上裝飾性的花磚紋路，使之成為物件、盆器、花器等…身體成為中性、中立的物件。

The Barren Land is a series I have been working on since 2018. I extracted partial images of human bodies, paired them with plants such as roadside weeds and ornamental flowers. I then covered the bodies with decorative tile textures that transformed them into objects, pots, planters, and such. The bodies have become neutral items.

不毛之地的名稱也源自於一個想法。約翰·伯格在《觀看的方式》一書中提至:「毛髮與性權力有關，與熱情有關。」女子在畫中無毛髮只因自身需無慾望，因為慾望屬於他人，我認為這件事很有趣也顯著卻無人提及，因此在作品中我會讓毛髮出現在繪製的身體，我希望觀者能看出這身體部位的出處，也希望觀者能有不同的觀看效果與想法。

除了不毛之地系列，我也將身體與山水作為結合，闡述自然、非自然的結合，官能與試圖中性客觀的結合。

The name The Barren Land came from a concept. In John Berger’s work, Ways of Seeing, he mentioned: “Hair is associated with sexual power. With passion.” Women are portrayed as hairless in art pieces because they must be stripped of any desire - the desire that only belongs to others. I found it interesting and prominent but barely been discussed. Thus, hair is shown on the bodies I present in my works. I hope the viewers would be able to recognize the body parts, be inspired in their own way, and generate different opinions.

In addition to the series of The Barren Land, I also combined human bodies with landscapes, portraying the combination of the natural and the unnatural, and the combination of sensibility and the attempt to be neutral and objective.

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柯偉國 WEI-KUO KE