臺南新藝獎  Next Art Tainan

Windy Hills: Brewers of Civilization

倒風內山：文明發酵術

2026 

03 / 12  —  04 / 12

Curator｜Nobuo TAKAMORI

Space ｜Aglow Art Space 5F

策展人｜高森信男

空間｜醉美空間 5F

點擊下方圖片前往 錄像作品 － 不眠山

Please click picture to review video works － Seeking for Forms in a Forest

Untitled 

｜2026 

｜25 min      ｜Soil, Wood

｜AI Visual Programmer: Wu Cheng-Ru (PB)

Exhibition Version － Video shown at 4× speed

The video presents the remnants of structures filmed by the artist in the villages, along with the re-creation of intervals through AI-based splicing techniques. The image space that emerges on the screen is intangible and immaterial. Inaccessible zones of reality merge with AI-generated fictions, giving rise to a liminal zone between the fictional and the real.

The Apparition of Belief

信仰的虛像

｜2026

｜60 x 40 x 5 cm (W x L x H)

｜Photographic paper, gold leaf, wood panel

｜攝影紙、金箔、木板

During a long-distance mountain traverse, I encountered an abandoned forest workstation deep in the mountains. Inside the building were five wooden plaques, each inscribed with the name of a different deity. In the harsh and isolated conditions of the historical mountain forestry environment, workers often remained in the mountains for extended periods, sometimes returning to the lowlands only once every one or two years. For them, faith may not have truly been directed toward any particular god, but rather functioned as a symbol that enabled them to continue enduring and surviving. In a state of disconnection from the outside world, people require something onto which they can project their emotions, fears, and hopes. These names, symbols, and ritual objects became forms of spiritual attachment, grasped amid isolation, labor, and uncertainty. What may matter most is not what one believes in, but the enduring human need for an object through which inner states can be projected.

Gold leaf is used as a primary material in the work, both as a traditional signifier of the sacred and as a means of expressing fragility. Its fragmented appearance reflects the fractured and uncertain nature of faith within such environments. The images printed on photographic paper are generated from photographs of the workstation itself, reconfigured into new visual forms that seek to re-examine these traces left behind in the mountains. As history gradually fades and settlements are forgotten, the objects that were once worshipped begin to drift between reality and fiction, becoming ghostly presences that linger within the space. 

作品關注於信仰的寄託，在某次長天數縱走山脈的旅程中，於廢棄的深山工作站看見屋內擺放著五塊木牌，上面分別寫著不同神明的名字。在過去艱困而封閉的山林環境中，工人往往必須長時間滯留山中，一兩年才能下山一次。對他們而言，信仰或許並非真正指向某位神祇，而是一種支撐自身繼續存活下去的象徵。在與外界斷裂的狀態中，人需要某種能夠寄託情感與恐懼的存在。那些名字、符號與祭祀物，成為在孤立、勞動與未知之中，緊抓的精神依附。真正重要的或許從來不是相信什麼，而是人在極端環境下，仍然需要某種能夠投射內在狀態的對象。

作品以金箔作為材料，一部分是作為神聖性表徵的材質，而破碎的樣態更能夠顯現那樣環境下，信仰的殘裂以及不確定性，像是緊握的最後一根稻草。攝影紙上的畫面，是在工作站畫面下，重新生成的圖樣，試圖重新凝視這些遺留於山林中的痕跡。當歷史逐漸消失、聚落被遺忘，那些曾經被供奉的物件，也開始游移於真實與虛構之間，成為一種殘留於空間中的幽靈性存在。