陳儀如 YI-JU CHEN
那些沒有形狀的魚
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。
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。
Those Fishes Without Shape
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.
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.
漁人之手的奇想
始於捷克布拉格藝術、建築與設計學院（UMPRUM）織品工作室與洛布科維茨宮（Lobkowiczký palác）的合作計畫。在參觀內拉霍澤維斯宮（Nelahozeves Castle ）的狩獵室後，引導出許多對 「 狩獵 」 意義的思考。進一步對獵人手套的歷史展開研究，發現13世紀一種具有三指結構的特殊手套，其形狀與獸蹄相似，於是開始將手套視為一種動物身體部位的延伸。並從身為海島國家的居住者經驗出發，將主題由從狩獵轉向漁獵。
始於捷克布拉格藝術、建築與設計學院（UMPRUM）織品工作室與洛布科維茨宮（Lobkowiczký palác）的合作計畫。在參觀內拉霍澤維斯宮（Nelahozeves Castle ）的狩獵室後，引導出許多對 「 狩獵 」 意義的思考。進一步對獵人手套的歷史展開研究，發現13世紀一種具有三指結構的特殊手套，其形狀與獸蹄相似，於是開始將手套視為一種動物身體部位的延伸。並從身為海島國家的居住者經驗出發，將主題由從狩獵轉向漁獵。
The Fisherman’s Hand in Reverie
The project originates from a collaboration between the Textile Studio at the Academy of Arts, Architecture and Design in Prague (UMPRUM) and Lobkowicz Palace. A visit to the hunting room at Nelahozeves Castle prompted a series of reflections on the meaning of “hunting.” Further research into the history of hunters’ gloves revealed a 13th-century three-finger glove whose form resembles a hoof. This observation led to an understanding of gloves as extensions of animal bodies. Drawing from lived experience in an island nation, the focus gradually shifted from hunting to fishing.
The project originates from a collaboration between the Textile Studio at the Academy of Arts, Architecture and Design in Prague (UMPRUM) and Lobkowicz Palace. A visit to the hunting room at Nelahozeves Castle prompted a series of reflections on the meaning of “hunting.” Further research into the history of hunters’ gloves revealed a 13th-century three-finger glove whose form resembles a hoof. This observation led to an understanding of gloves as extensions of animal bodies. Drawing from lived experience in an island nation, the focus gradually shifted from hunting to fishing.
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瑪莉的珍奇櫃
瑪莉的珍奇櫃透過方正外型與格狀結構，結合了「戳戳樂」與「珍奇櫃」的歧異。戳戳樂為娛樂商品，輕質、廉價且具有高度的汰換性，其箱體材質多半為瓦楞紙板或保麗龍。反之，珍奇櫃則講求精緻的造型、堅固的木作，確保櫃內的奇珍異寶能安然地收藏其中，永恆地展示在我們面前。包裹著「珍奇櫃」外型的「戳戳樂」，成了以藝術之名的戲謔遊戲。
瑪莉的珍奇櫃透過方正外型與格狀結構，結合了「戳戳樂」與「珍奇櫃」的歧異。戳戳樂為娛樂商品，輕質、廉價且具有高度的汰換性，其箱體材質多半為瓦楞紙板或保麗龍。反之，珍奇櫃則講求精緻的造型、堅固的木作，確保櫃內的奇珍異寶能安然地收藏其中，永恆地展示在我們面前。包裹著「珍奇櫃」外型的「戳戳樂」，成了以藝術之名的戲謔遊戲。
Mary’s Cabinet of Curiosity
“Mary’s Cabinet of Curiosities” contrasts the grid-like structure of a punch-box game with the refined form of a cabinet of curiosities. The punch-box is lightweight, inexpensive, and disposable, while the cabinet is carefully crafted to preserve and display precious objects, presented before us in perpetuity. Framed as a cabinet, the punch-box becomes an ironic, playful gesture in the name of art.
“Mary’s Cabinet of Curiosities” contrasts the grid-like structure of a punch-box game with the refined form of a cabinet of curiosities. The punch-box is lightweight, inexpensive, and disposable, while the cabinet is carefully crafted to preserve and display precious objects, presented before us in perpetuity. Framed as a cabinet, the punch-box becomes an ironic, playful gesture in the name of art.
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兩個謎團（桃莉篇）
文本式的錄像作品重製了馬格利特（René Magritte）的畫作《兩個謎團》（The two mysteries），包含畫中的場景與造型奇異的松木畫架。錄像呈現了大量截取自網路的「 桃莉羊 」 影像，包含其攝影、新聞、科學研究圖表、標本、雕塑、繪畫、漫畫、布偶等，試圖探討人類對動物形象的認知、再現與詮釋，並配上旁白以探討動物作為人類他者的身份。在閱讀W.J.T. 米契爾對此畫作的評論過後，因句構形式所產生的文字歧義而延伸出另類的詮釋。
文本式的錄像作品重製了馬格利特（René Magritte）的畫作《兩個謎團》（The two mysteries），包含畫中的場景與造型奇異的松木畫架。錄像呈現了大量截取自網路的「 桃莉羊 」 影像，包含其攝影、新聞、科學研究圖表、標本、雕塑、繪畫、漫畫、布偶等，試圖探討人類對動物形象的認知、再現與詮釋，並配上旁白以探討動物作為人類他者的身份。在閱讀W.J.T. 米契爾對此畫作的評論過後，因句構形式所產生的文字歧義而延伸出另類的詮釋。
The Two Mysteries：About Dolly
A text-based video work reconstructs René Magritte’s The Two Mysteries, including its scene and distinctive wooden easel. It assembles internet-sourced images of Dolly the sheep—photographs, news materials, scientific diagrams, specimens, sculptures, paintings, comics, and toys. Through this montage, the work examines how animals are perceived, represented, and interpreted, accompanied by narration on animals as humanity’s “other.” After reading W. J. T. Mitchell’s commentary, an alternative interpretation emerges from the textual ambiguity of his writing.
A text-based video work reconstructs René Magritte’s The Two Mysteries, including its scene and distinctive wooden easel. It assembles internet-sourced images of Dolly the sheep—photographs, news materials, scientific diagrams, specimens, sculptures, paintings, comics, and toys. Through this montage, the work examines how animals are perceived, represented, and interpreted, accompanied by narration on animals as humanity’s “other.” After reading W. J. T. Mitchell’s commentary, an alternative interpretation emerges from the textual ambiguity of his writing.
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動物形象的反叛
作品名稱挪用自畫家馬格利特（René Magritte）的作品〈形象的背叛（這不是一個煙斗）〉（The Treachery of Images（This is not a pipe）），並擷取電影工業、生物實驗、動物園、馬戲團中 「 動物明星 」 的現成影像，透過圖像、文字與物質材料的相互指涉，模糊了動物與其名稱的對應關係。
作品名稱挪用自畫家馬格利特（René Magritte）的作品〈形象的背叛（這不是一個煙斗）〉（The Treachery of Images（This is not a pipe）），並擷取電影工業、生物實驗、動物園、馬戲團中 「 動物明星 」 的現成影像，透過圖像、文字與物質材料的相互指涉，模糊了動物與其名稱的對應關係。
The Treachery of Animal Images
The work takes its title from the painting The Treachery of Images (This Is Not A Pipe) by the Surrealism artist René Magritte. It captures found photos of “animal celebrities” from the film industry, biological experiments, zoos and circuses, blurring the correspondence between the images and the names of animals through the mutual reference of images, text, and materials.
The work takes its title from the painting The Treachery of Images (This Is Not A Pipe) by the Surrealism artist René Magritte. It captures found photos of “animal celebrities” from the film industry, biological experiments, zoos and circuses, blurring the correspondence between the images and the names of animals through the mutual reference of images, text, and materials.
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動物的缺席 系列
使用台灣早期從事加工製造業生產外銷歐美的現成物「貼紙」，藉由極為單純的拼貼動作，並將動物貼紙一一撕除，留下原先被視為剩餘物的底紙。細碎的彩虹光澤在不同角度間閃爍變化，顯露出帶有風景影像的背景底圖，空下一個個剪影般的動物身形。象徵性的負空間彷彿暗示了動物從人造自然中逃逸的最後足跡。
使用台灣早期從事加工製造業生產外銷歐美的現成物「貼紙」，藉由極為單純的拼貼動作，並將動物貼紙一一撕除，留下原先被視為剩餘物的底紙。細碎的彩虹光澤在不同角度間閃爍變化，顯露出帶有風景影像的背景底圖，空下一個個剪影般的動物身形。象徵性的負空間彷彿暗示了動物從人造自然中逃逸的最後足跡。
The Absence of Animals Series
Using the ready-made stickers which were mass-produced in Taiwan's early processing and manufacturing industry for export to Europe and America. And take extremely simple actions, tearing off the animal stickers one by one, leaving the base paper originally considered residue. A rainbow glossy surface with fine dots flickers and changes when viewed from different angles. A background image with scenic landscapes is revealed, amid which are silhouettes of animals. The symbolic negative space seems to imply the final traces of animals escaping from the artificial nature.
Using the ready-made stickers which were mass-produced in Taiwan's early processing and manufacturing industry for export to Europe and America. And take extremely simple actions, tearing off the animal stickers one by one, leaving the base paper originally considered residue. A rainbow glossy surface with fine dots flickers and changes when viewed from different angles. A background image with scenic landscapes is revealed, amid which are silhouettes of animals. The symbolic negative space seems to imply the final traces of animals escaping from the artificial nature.
獵物販賣機 系列
動物的形象在人類社會中流變，牠們化為大眾文化與消費符碼，許多玩偶更是動物穿越人類想像後的變體。將台灣街頭中的日常景觀 「 選物販賣機 」（泛稱：夾娃娃機）改造為一個雉拙的 「 環境生態模型 」（diorama），試圖呈現 「 自然物 」 與 「 人造物 」 間的交融與奇異。
動物的形象在人類社會中流變，牠們化為大眾文化與消費符碼，許多玩偶更是動物穿越人類想像後的變體。將台灣街頭中的日常景觀 「 選物販賣機 」（泛稱：夾娃娃機）改造為一個雉拙的 「 環境生態模型 」（diorama），試圖呈現 「 自然物 」 與 「 人造物 」 間的交融與奇異。
The Hunting Machine Series
The image of animals has evolved in human society, turning into codes of popular culture and elements of consumer goods. Many stuffed animals have become the fantastic variation of real animals as they have been filtered human imagination since our childhood. The work The Hunting Machine transforms the common street sight of Taiwan, the claw machines, into a childlike dioramas, the pieces attempt to depict the fusion and strangeness between “the natural” and “the artificial.”
The image of animals has evolved in human society, turning into codes of popular culture and elements of consumer goods. Many stuffed animals have become the fantastic variation of real animals as they have been filtered human imagination since our childhood. The work The Hunting Machine transforms the common street sight of Taiwan, the claw machines, into a childlike dioramas, the pieces attempt to depict the fusion and strangeness between “the natural” and “the artificial.”
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畫框之外的風景
進入美術館，我們不由自主地走向一個個影像框架前，享受著框內畫面所給予的審美愉悅。 阿爾貝蒂（Leon Battista Alberti）將繪畫描述為一扇打開的窗戶，透過它我們可以看到從藝術家視角所建構的故事，在這裡，封閉的方形邊框創造出一個觀看的空間，它也是區隔繪畫空間與真實世界的界線。
進入美術館，我們不由自主地走向一個個影像框架前，享受著框內畫面所給予的審美愉悅。 阿爾貝蒂（Leon Battista Alberti）將繪畫描述為一扇打開的窗戶，透過它我們可以看到從藝術家視角所建構的故事，在這裡，封閉的方形邊框創造出一個觀看的空間，它也是區隔繪畫空間與真實世界的界線。
Paysage
Upon entering the art museum, we are naturally drawn to picture frames in neat rows, enjoying the aesthetic pleasure that the images within them offer. Leon Battista Alberti described painting as an open window through which the painted subject from the artist's perspective is seen. In this case, a four-sided closed shape not only creates a field of view but also serves as a boundary between painted spaces and real-world environments.
Upon entering the art museum, we are naturally drawn to picture frames in neat rows, enjoying the aesthetic pleasure that the images within them offer. Leon Battista Alberti described painting as an open window through which the painted subject from the artist's perspective is seen. In this case, a four-sided closed shape not only creates a field of view but also serves as a boundary between painted spaces and real-world environments.
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發現新物種
將擱淺在海岸線上色彩鮮豔的垃圾碎片逐一拾起、仔細清潔，以生物二名法為它們命名，並拍攝建檔製成「物種圖鑑」。想像著這些物質在生命之源的大海中漂流久遠，以至於產生質變、成為生命，虛構出未來世界發現新物種的科學奇蹟。
將擱淺在海岸線上色彩鮮豔的垃圾碎片逐一拾起、仔細清潔，以生物二名法為它們命名，並拍攝建檔製成「物種圖鑑」。想像著這些物質在生命之源的大海中漂流久遠，以至於產生質變、成為生命，虛構出未來世界發現新物種的科學奇蹟。
Discovery of New Species
Brightly colored debris stranded along the shoreline are collected, cleaned, and systematically documented through photography. Following the rules of binomial nomenclature, they are assigned scientific names and compiled into encyclopedia-style posters of marine species. Drifting through the ocean—the origin of life—over extended periods, these materials are imagined to undergo transformation and ultimately become life forms, evoking a speculative scientific narrative of newly discovered species in a future world.
Brightly colored debris stranded along the shoreline are collected, cleaned, and systematically documented through photography. Following the rules of binomial nomenclature, they are assigned scientific names and compiled into encyclopedia-style posters of marine species. Drifting through the ocean—the origin of life—over extended periods, these materials are imagined to undergo transformation and ultimately become life forms, evoking a speculative scientific narrative of newly discovered species in a future world.