【返身自然｜Return to Nature】
年份｜Year: 2023（延伸演出：2025 青森）
形式｜Medium: 行為藝術 Performance Art
地點｜Location: 日本 青森縣 淺蟲海灘（Asamushi Beach, Aomori, Japan）
計畫｜Program: 《淺蟲超級藝術》Asamushi Super Arts 國際藝術交流計畫
《返身自然》是一場發生於青森淺蟲海灘的行為藝術，回應島嶼、海水、植物與人之間的共生關係。作品以觀眾參與為核心，透過身體、語言與自然元素的交互，使語言回歸土地，讓身體重新成為場域的一部分。
淺蟲海灘位於陸奧灣之濱，與海上的湯之島遙相對望，長年被視為具有靈性象徵的聖地。青森的自然環境、島嶼信仰與當地人與海的共生關係，為此作品賦予了深層的文化與精神背景。
Return to Nature was performed outdoors on the coast of Asamushi Beach in Aomori Prefecture, Japan, as part of the Asamushi Super Arts international art exchange program.
Facing the sacred island of Yunoshima across Mutsu Bay, the site has long been regarded as a place of spiritual resonance. Aomori’s natural environment, island beliefs, and its people’s symbiotic relationship with the sea provided a profound contextual foundation for this work.
The performance explores the dialogue between the body, language, and the natural world—how knowledge, memory, and physical presence dissolve into the landscape.
藝術家身著深色西裝靜立於岸邊，手持一本描寫日本島嶼的書籍，邀請觀眾隨機翻閱並選擇一句最能引發共鳴的語句。觀眾最終選出「石頭融於水中」——這句話與藝術家在石卷發表的作品《石頭》形成回聲，並與湯之島的地理結構產生象徵性的對位。
隨後，藝術家以鏟子將書籍埋入沙中，象徵語言與知識歸還於土地。
她逐件脫下西裝、襯衫、背心與鞋襪，埋入沙丘中，堆疊成一座低矮的身體遺跡。這個行動象徵個體的蛻變與歸還——身體逐漸化為地景的一部分。
藝術家走入海中，以褲腳沾取海水，再將水回灑至沙丘與衣物之上，完成洗禮與灌溉的儀式。最後伏臥於沙丘之上，邀請觀眾拾取地上的青草與青苔覆蓋其身體，讓身體與海岸、植物、島嶼形成共振。
在儀式的尾聲，觀眾被邀請踩踏覆滿青苔的身體，並摘取其上的花朵。透過觸覺、腳步與「取走」的行為，觀眾從旁觀者轉為參與者，完成了身體、地景與記憶之間的能量交換。
The artist, dressed in a dark suit, stood motionless on the shore holding a book about the islands of Japan. She invited the audience to open it randomly and select a sentence that resonated with them in that very moment.
The chosen line—“The stone melts into the water”—echoed her previous work Stone, performed in Ishinomaki, and created a conceptual correspondence with the geographical relationship between the bay and Yunoshima Island.
After the selection, the artist buried the book in the sand using a shovel, symbolizing the return of language and knowledge to the earth. She then removed her suit, shirt, vest, and shoes one by one, burying them beneath the sand to form a small mound resembling the remains of a human body—signifying transformation and the body’s reintegration into the land.
Walking into the sea, the artist soaked the hem of her trousers with seawater and returned to pour it over the sand mound and buried garments, enacting a double gesture of cleansing and nourishment. Finally, she lay face-down upon the sand while inviting the audience to pick nearby grasses and moss to cover her body, merging it with the surrounding landscape.
In the closing ritual, participants were invited to step on the moss-covered body and pluck a flower placed upon it. Through these tactile and participatory gestures—touching, stepping, taking—the audience shifted from observers to co-creators, activating an exchange of energy between body, landscape, and memory.
《返身自然》回應個體與自然、記憶與環境之間的關係。
當「石頭融於水中」被選定，石卷的震災記憶、青森的海岸與湯之島的靈性象徵被串聯起來，構築出一場跨地域的集體感知。
語言在此被埋入沙中，取而代之的是潮汐、呼吸與身體觸覺的交流——一種不依附語言的感官式敘事。
透過海岸、島嶼與身體的即時互動，作品回應了青森獨特的地理與精神記憶。
在這過程中，個體與環境的界線被重新思考：
湯之島的靈性象徵、震災的集體記憶與自然的循環，被置入同一個感知場域之中。
這場行為實踐讓作品超越語言敘事，回到身體、環境與當下共存的層次——呈現藝術介入場域時所能生成的另一種關係與觀看方式。
Return to Nature engages with the interrelation between the individual and nature, memory and environment.
When the phrase “The stone melts into the water” was chosen, it connected the collective memory of the Ishinomaki earthquake, Aomori’s coastal landscape, and the spiritual symbolism of Yunoshima, forming a network of shared perception across regions.
By burying language in the sand, the work replaces verbal expression with tides, breath, and tactile interaction—creating a sensory narrative beyond words.
Through the immediate dialogue between the sea, the island, and the human body, the performance responds to Aomori’s unique geography and cultural memory.
Centering on audience participation, the work weaves language, ocean currents, plants, and touch into a shared bodily experience.
In this process, the boundaries between self and environment are reconsidered: Yunoshima’s spiritual presence, the memory of disaster, and cycles of nature coexist within the same perceptual field.
This performative act transcends linguistic narration and returns to the coexistence of body, environment, and present time—revealing how art can generate alternative forms of relation and perception when it intervenes in a specific site.
青森 Aomori｜島嶼 Island｜自然 Nature｜身體 Body｜語言與土地 Language and Land｜觀眾參與 Audience Participation｜行為儀式 Performance Ritual