陳儀如 YI-JU CHEN 

木作、水性調和漆、金屬、建築模型、藝術微噴裱框
裝置:30x30x102 cm影像: 57.5x77.5cm2021
那些沒有形狀的魚

布料、泡棉、繡線、釣魚線、路亞擬餌
赤鯮:18 × 29 × 2.5 cm
白鯧:24 × 39 × 3 cm
午仔:9.5 × 33 × 2.5 cm cm
2025
木作、水性調和漆、金屬、建築模型、藝術微噴裱框
裝置:30x30x102 cm
影像: 57.5x77.5cm2021
Paysage


Wood, emulsion paint,  metal, architectural model, Giclee print on paper, picture frame
Installation: 30x30x102 cm / Image: 57.5x77.5cm
2021
木作、水性調和漆、金屬、建築模型、藝術微噴裱框
裝置:30x30x102 cm影像: 57.5x77.5cm2021
畫框之外的風景

木作、水性調和漆、金屬、建築模型、藝術微噴裱框
裝置:30x30x102 cm
影像: 57.5x77.5cm
2021
木作、水性調和漆、金屬、建築模型、藝術微噴裱框
裝置:30x30x102 cm
影像: 57.5x77.5cm2021
Those Fishes Without Shape


Fabric, foam, embroidery thread, fishing line, artificial lures
Tshiah-Tsang:
18 × 29 × 2.5 cm
Pe̍h-Tshiunn :
24 × 39 × 3 cm
Ngóo-Á :
9.5 × 33 × 2.5 cm
2025
祖父作為討海船長,經常分享出海見聞與海上民間信仰,也帶回各種海洋物種。這些經驗形塑了漁村的生存節奏與文化,也映照出逐漸消逝的海洋日常。

本計畫運用電腦刺繡技術,製作介於平面與立體之間的織品雕塑,重現臺灣常見食用魚種的形貌,那些曾在餐桌上充盈味蕾、卻因被切割、烹煮,而在都市居民記憶中逐漸失去形狀與色彩的魚類。
A  offshore fishing boat captain, my grandfather often shared stories of life at sea and maritime folk beliefs, and brought back various marine species. These experiences shaped the rhythms and culture of fishing villages, while reflecting a gradually disappearing maritime everyday life.

This project uses computer embroidery to create textile sculptures between two- and three-dimensional forms, reconstructing commonly consumed fish species in Taiwan—fish that once filled the table with flavor, but have gradually lost their shapes and colors in urban memory through cutting and cooking.