生息在潮濕的土地—無盡之屋Living in Wetlands—Endless House

郭俞平 Kuo Yuping

臺灣Taiwan

郭俞平( Kuo Yuping) 的創作涉獵於繪畫、錄像、裝置、文字等廣泛的形式，早期作品善於表達自身的生命經驗與大歷史之間的關係，以創傷與缺憾支撐繁花般的隱喻為其創作特質，試圖把「存有」的概念推往現實與在地的修正，尋思出一種主體的敘事。近年的藝術實踐則展開了多重路徑，繪畫作品以活潑流暢的視覺語言去傳達個人內心世界的圖像，包含了怪誕奇幻的想像和更多直覺性的感性表述，並持續以複合媒材裝置作品為當代政治的創傷敘事，以及女性的跨國離散現象譜為詩歌。近期作品見於台北市立美術館「摩登生活：臺灣建築1949-1983」、國立台灣美術館「地緣詩學：瀕危世界的多變性質」、「2023綠島人權藝術季：傾聽裂隙的迴聲」等。Kuo Yuping's creations involve a wide range of forms, including painting, video, installation, and text. His early works expressed the relationship between his own life experience and the mega history, and he used trauma and defects to support the flower-like metaphors as the characteristics of his creations, attempting to push the notion of "existence" towards the revision of reality and the earth, and to seek out a kind of subjective narration. In recent years, his artistic practice has developed multiple paths, with his paintings conveying images of the inner world of the individual in a lively and fluent visual language that includes bizarre and fantastical imagery and more intuitive sensual expressions, and he continues to compose poems on contemporary political trauma and the phenomenon of women's transnational separation with his installation works in composite media. His recent works can be seen in "Modern Life: Taiwan Architecture 1949-1983" at the Taipei Fine Arts Museum, "Geopoetics: Changing Nature of Threatened Worlds" at the National Taiwan Museum of Fine Arts, and "Listening to The Overtones of Fissures" at the 2023 Green Island Human Rights Art Festival.

年份 | Year
2024

位置 | Location
野溪旁空地Open space by the wild stream

材料 | Material
土、種子、樹枝、麻繩、石頭等
Soil, seeds, twigs, twine, stones, etc.

理念 | Statement
構成流域濕地這般景觀的各式人為政策、跨物種的行動之間，逐漸在不同的關係脈絡互動下形成當今我們往來穿梭的台北盆地。在《生息在潮濕的土地——無盡之屋》的作品實踐，以淡水河為主體，將這些「相遇」、「聚集」與「事件」作為創作上的概念核心，打造出一個充滿各式紋路、孔隙，相互聯通，並會隨著時間而改變其型態的現地裝置。The various human policies and cross-species actions that constitute the landscape of the wetland gradually interact in different relationships to form the Taipei Basin that we are travelling to and from nowadays. In "Living in the Wet Land - Endless House", the Danshui River is used as the main body of the work, and these "encounters", "gatherings", and "events" are taken as the conceptual core of the creation, creating a site-specific installation full of textures, pores, and interconnections, which will change its shape over time.