作品概述｜Overview

《成為一顆石頭 II》延續藝術家對「身體、土地與礦石」之間關係的長期探索。
作品邀請觀眾思考——此刻的我們，能以什麼樣的角度與歷史現場對話？
Through this work, the artist continues her long-term exploration of the relationship between the body, the land, and the stone.
It invites the audience to reflect: From what perspective can we, in this moment, engage in dialogue with a site of history?

​

藝術家以行走、影像與裝置的多層敘事結構，重新踏上金瓜石礦區過去的運輸路徑，
尋找在物質之外、生命仍然流動的感知軌跡。
Through walking, moving images, and installation, the artist retraces the old mining routes of Jinguashi,
seeking traces of perception where life continues to flow beyond material existence.

_________________________________

展場結構｜Spatial Composition

 

1. 路徑地圖與石頭裝置

Path Map and Stone Installation
觀眾一進入展場，首先映入眼簾的是牆面上的《路徑地圖》，描繪出昔日礦工運輸礦石的古老道路，如今早已荒廢。
藝術家與礦工的後代共同踏查這些遺徑，並在地面設置相對應的《石頭路徑裝置》。
每顆石頭旁皆附有藝術家手繪的小卡，記錄她對石頭的感知與對話。

Upon entering the space, visitors encounter the Path Map on the wall—
a cartographic drawing of the once-bustling mining routes, now reclaimed by nature.
Together with descendants of former miners, the artist retraced these forgotten trails,
installing a series of stones on the ground as physical echoes of the map.
Each stone bears a hand-painted card reflecting the artist’s sensory response and dialogue with it.

 

2. 行走錄像與「視腳」影像

Walking Video – The “Foot-view” Perspective
接著，觀眾的視線被引導至地面投影的錄像。
鏡頭以藝術家行走的視腳（foot-view）角度呈現，帶領觀眾一同踏入礦區場域。
隨著地質、光線與氣味的變化，行走的姿態與節奏也隨之改變。
行走不再只是移動，而成為與環境共同呼吸的感知行為。

The next section presents a ground projection shot from the artist’s “foot-view,”
immersing the audience in the act of walking through the mining terrain.
As the landscape shifts—its texture, humidity, and light—
the rhythm of walking transforms, revealing the subtle negotiation between body and environment.

​

3. 錄像作品《成為一顆石頭 II》

Video Work – Becoming a Stone II
展場中央的主錄像為2025年重新拍攝版本，
藝術家以身體作為感知的器官，進入金瓜石舊礦坑進行田野採集。
在行為的過程中，身體成為感知的載體，與地層、礦脈產生回聲與共振。

At the heart of the exhibition, the 2025 re-filmed version of Becoming a Stone II presents the artist’s performative exploration within the abandoned mine.
Her body acts as a sensor and vessel of perception, engaging in direct conversation with the layers of earth and the silent pulse of mineral veins.

 

4. 石頭感知裝置區

Stone Perception Installation
最後，觀眾被引導進入兩個互相呼應的「石頭感知裝置區」。
在這裡，觀眾可以透過觸覺、聲音與氣味，近距離感受石頭的呼吸與振動，
傾聽它們與自身之間潛在的共鳴。

In the final section, visitors are invited into two immersive zones of Stone Perception Installations.
Here, one may listen, touch, and sense the stones’ subtle vibrations—
experiencing a quiet dialogue between human presence and geological time.

 

創作思考｜Conceptual Reflection

藝術家重新踏上過去礦工運輸礦石的路徑，
以身體作為時間的載體，經驗過去的勞動與土地的記憶。
Through this act of re-walking, the artist transforms her body into an instrument of time—
to relive the rhythms of labor and the silent memory of the earth.

當語言與歷史被掩埋，我們是否仍能透過身體的感知，重新找回與萬物相連的能力？
When language and history are buried, can the body still recall its innate connection to all living matter?

《成為一顆石頭 II》以「向石頭學習」為起點，
試圖打開一扇通往意識的門，重新思考「價值」與「生命」之間的關係。
Becoming a Stone II begins with the gesture of learning from stones,
opening a door toward consciousness, and reconsidering what value means in relation to life—
especially those lives that appear inert, yet quietly sustain the world.

​

關鍵詞｜Keywords

Jinguashi · Stone · Body · Memory · Landscape · Value · Field Research · Sensory Practice