2023高雄獎入選-植織履

 植織履

⾛在海與陸的界線－防波堤這條路上，與其說是路，不如是說是一條界線，圍繞蔓延在防波堤兩旁是的各種海岸植物，在海風落潮中浸染鹹濕，在雜亂叢⽣中掩飾了他們獨特的姿態與⽣命韌性，以日常閒逛散步的心境從容地走在這一界線上，用採集的身體性去感知，編織重置這些海岸植物豐碩且強韌的生命力，表現出那屬於台灣濱海植物存在狀態獨有的藝術樣貌。以「植織履」為名，「植織履」，意即：「植物」、「編織」，至於「履」則有著「步履」實踐之意。我喜歡探索生命本質和衰敗的循環，以保存植物脆弱性連結土地，在過去農業科學除了研究工作經驗之外，亦衷情於乾燥和重新構建和收集的植物材料的藝術創作，嘗試以閱讀、描繪、或組構裝置來召喚出關於島嶼與海洋邊界的詩意徵候，思考自身與植物、植物與環境、地域，乃至於人文的連結關係。在島嶼邊界之徑，擷取若干濱海物種，如木麻黃、林投、銀合歡等契入對不同生態環境之關注，從植物的生態議題延伸向島嶼的人文與自然環境的關懷，對其地理的、景觀、生態、氣候變遷、產業及歷史的流變中，去重新認識、感受那雜亂、荒蕪、陌⽣的濱海風景。

海岸林中的木麻黃是種偵測環境的物種，葉如詩般隨風飄揚，如同一波波的海浪，平靜的海平面下，海洋資源在環境生態危機與人為影響之下面臨課題，就如同畫面中的植物棲地的南部養殖區，一條條纏根交錯的塑膠水管通向海洋海岸的兩端在生存與環境之間提出問號？作品以木麻黃葉片舖排成海平面的細波紋如風似浪,與馬達的機械音，共構出島嶼邊界的荒謬聲影。

Horsetail trees in the littoral forest can detect their surroundings. Their leaves move with the breezes poetically, resembling the sea waves. Beneath the tranquil sea surface are environmental crises and anthropogenic impacts regarding ocean resources. Similar to the farms in the plants� habitat in the southern areas presented in the paintings. The numerous entangled plastic pipes extend from the shore to the sea, raising the question of the struggles between survival and the environment. The art installation captures the absurd impression of the island�s border by lining up horsetail tree leaves to represent the small sea waves and the mechanical sounds of the motors.

《海或許不平面》 2020-2022,130x65cm,媒材:木麻黃、畫布真空裝置、聲音裝置

海浪  水車  馬達聲  音像檔QR

銀合歡是300年大航海時期隨著荷蘭人引進台灣的殖民植物，具薪柴及牲畜飼用，為資源不足的先民以供生存滋養。1976年政府與民間大量引進栽培為紙漿原料，其後因質差棄種而逸於原野，變成最大入侵木本物種，因銀合歡相剋作用的排他毒性物質強佔了大地生物多樣性的地景風景，影響生態甚巨。除了在恆春半島甚至於整個澎湖離島冬季亦只剩銀合歡寂寥的枯景。作品以一棵銀合歡每年生產15000~20000粒種子形成強大「種子庫」的生態特性，移印果莢於手抄紙，試圖超越物的本質，帶出某種詩性的視覺精神。

This work is inspired by river tamarind, a fiercely invasive plant species, to tell the story of an unsolvable ecological conundrum resulting from Taiwan�s colonial past. River tamarind is a colonial plant species brought into Taiwan by the Dutch during the Age of Discovery. Originally used as firewood and animal feed, the plant sustained the livelihood of those who lived on inadequate resources. In 1976, river tamarind was largely imported as a material for making pulp by both the public and the private sectors. However, it was later disused due to bad quality in comparison to the paper made in the Southeast Asia regions. As Taiwan transitioned into industrialization, common households no longer needed to keep firewood and feed livestock. Meanwhile, because river tamarind can produce biochemicals that create an allelopathic effect to suppress and crowd out other plant species, it has become the largest invasive woody plant species and increasingly occupied Taiwan�s natural landscape. River tamarind can produce 15,000 to 20,000 seeds per year. This work draws inspiration from this feature of river tamarind and prints its pods onto handmade paper as an attempt to transcend the nature of things and convey a poetic visuality

《強佔風景》   2022,  依場地尺寸而定  媒材:手抄紙、銀合歡種子

海岸林帶林投樹一直以來是南島族群常用於各類器物的編織民俗植物，然具有尖刺不易處理的植物形態特性，乃從嚴苛困難的濱海生長環境演替而來，如同常民的韌性對面環境提出的不同智慧，作品以編織不除刺十字距陣、林投纖維及草鞋裝置，重現先人篳路藍縷善用資材的墾荒期歷史脈絡。過去從事農業科學研究的曾琬婷，面對植物從田間試驗到藝術創作這廿幾年所交織出的一步一腳脈絡，雖然緩慢但深刻，未來仍像那雙未完成的草鞋裝置，繼續邁開步履前行。

《荊棘風景》2022  依場地尺寸而定   媒材:林投裝置