2012年1月，創作者以在「在幸福的邊陲」為題，在視盟1F藝文空間舉辦錄像投影聲音裝置個展，如同過去一貫的創作經驗，創作者喜歡就同一個主題一作在作，直到感覺飽和，了無新意為止。反覆咀嚼的過程中，會依照同樣主題，運用不同的但為創作者熟悉，也一貫喜歡的媒材，一做再做。曾經發展多年的系列有： 討論螢光色彩與電音聲響的系列，作品包含：「螢光計畫-1」、「螢光計畫-2」、「螢光變奏」、「快樂地」、「快樂漫遊」、「快樂半島」。以家為符號來表現甜膩幸福之極大化後的孤獨感，那種金玉其外、敗絮其中的強烈對比與淒涼，作品包含：「甜蜜家庭生日快樂」、「豪華家庭初體驗」、「那光譜如同小小點」、「我的小小家」、「鏡花緣」以及「在幸福的邊陲」展覽。

 

本次個展計畫「幸無在中央」，同樣試圖將對中央的嚮往、對中央的價值認同、對中央的等距遙想…反映出需要他者才能得到認同的中心化議題，再度提出價值認同的縱向與橫向連結，價值如何被形塑的討論，這些討論可以是都會的、人文的、政治的、地理圖像的…等等。

這次個展作品以錄像投影聲音裝置作為強烈的引言。也運用夜間才能展現蠱惑姿態的燈光裝置，希望在此登場的作品，能稍稍討論自我中心與環境他者間又疏又緊，亦遠亦近的糾結感。
而展覽名稱「幸無在中央」，「幸無」即是幸好沒有的意思，雖然本初是在不斷謄打「幸福在中央」而錯置成「幸無在中央」，卻更貼近創作的基本想法。「幸無在中央」也希望對價值去中心化進行思考，核心價值的核心不等同個人價值的價值。

 

I had my solo exhibition 在幸福的邊陲, a projected video installation show, at the Association of the Visual Arts in Taiwan in January, 2012. As it has always been my creative approach, I enjoy lingering on the same theme, creating works around it over and over until all ideas related to that certain topic are exhausted. During that rumination, I use various media that I am familiar with and always like to create works for the same theme.

One series I once developed for years is on fluorescence and electric sounds. Works on this theme include 螢光計畫-1, 螢光計畫-2, 螢光變奏, 快樂地, 快樂漫遊 and 快樂半島. Another series of works uses the concept of “home” to symbolize the solitude arising from happiness gone extreme, the stark contrast between a rotten interior and a fine exterior. 甜蜜家庭生日快樂, 豪華家庭初體驗, 那光譜如同小小點, 我的小小家, 鏡花緣and the exhibition 在幸福的邊陲 were developed for this theme.

Now, at this solo exhibition Ubiquitous, my attempt is to reflect people’s need of Others to attain acknowledgement, through an aspiration for the center, the recognition of the value of the center, and the equidistant pondering upon the center. By creating these pieces, I once again propose the vertical and horizontal linkage of value recognition and discuss how values are formed. The discussion can be metropolitan, humanistic, political, geo-imagery, etc.

The projected visual-audio installation at the exhibition is a prominent prelude to the show and the lighting installation is the most captivating when in the dark. I expect to explore, through these works, the entanglement between self-centeredness and the Others, the entanglement that seems alienated but close, distant but near.

The title of this exhibition Ubiquitous in Mandarin Chinese is Xing Wu Zai Zhong Yang (“Luckily Without at the Center”), and the first two characters “Xing Wu” together mean “luckily without”. “Xing Wu” are in fact a typo when I misspelt “Xing Fu” (meaning “happiness”), but the accidental twist somehow better reflects my original concept for this series of creation. Ubiquitous is a deliberation on the decentralization of values and the idea that core values do not necessarily equal to personal values.