在尋母體記憶的浪上
《林戎依 駐館創作展》
展期｜2025.08.04-08.16
時間｜am11:00-pm18:00
地點｜金車藝文中心（承德館）
林戎依（Halomei）是來自台灣台東的阿美族藝術家。她的創作以原住民樹皮布傳統工藝為核心，探索南島文化，結合傳統原民工藝與當代藝術、表演與裝置表現。擁有民族藝術碩士學位，並曾在夏威夷、關島、東加、紐西蘭等地進行田野研究與跨文化創作計畫。
On the Wave of Seeking Maternal Memories
Lin Jungyi Residency Exhibition
Lin Jungyi (Halomei) is an Amis artist from Taitung, Taiwan. Her practice centers on the traditional Indigenous craft of barkcloth, exploring Austronesian cultures through the intersection of Indigenous craftsmanship, contemporary art, performance, and installation. She holds a Master's degree in Indigenous Arts and has conducted field research and cross-cultural artistic projects in Sarawak, Guam, Taitung, and Aotearoa New Zealand.
Exhibition Dates｜4–16 August 2025
Hours｜11:00 AM–6:00 PM
Venue｜King Car Cultural & Art Center(Chengde Gallery)
展覽簡介
展覽以《在尋母體記憶的浪上》為題，延伸戎依《後南島視野下的樹皮布藝術實踐》之研究與創作脈絡。展覽以樹皮布為核心媒材，源自台灣原住民文化脈絡、由樹皮經敲打、延展等工序而成的傳統纖維工藝，其製作過程深 度嵌入身體勞動、自然環境與社群實踐之中。
當戎依在不同南島地區看見樹皮布工藝，那些反覆浮現的相似感知與文化共振，理解母體記憶是一種在行走、連結與創作之中持續生成的狀態，如同「浪」，是一種持續行進的狀態，使文化記憶不再被視為靜態保存之物，而是在材料、空間感知與生活實踐中反覆被喚起與轉化。
Exhibition Overview
On the Wave of Seeking Maternal Memories expands upon Jungyi's long-term research and artistic practice developed through her project, Post-Austronesian Perspectives: The Artistic Practice of Barkcloth. Centered on barkcloth—a traditional fiber material rooted in the cultural practices of Taiwan's Indigenous peoples—the exhibition explores barkcloth not merely as a craft, but as a living medium through which bodily knowledge, environmental relationships, and collective memory are continually embodied and transmitted.
Through her journeys across Austronesian communities, Jungyi encountered diverse barkcloth traditions whose recurring visual languages and cultural resonances reshaped her understanding of maternal memory. Rather than a fixed origin to which one returns, maternal memory emerges as an ongoing process of becoming through movement, exchange, and artistic practice. Like a wave, it is in constant motion. In this exhibition, cultural memory is understood not as a static heritage to be preserved, but as something continually reawakened, reinterpreted, and transformed through material, spatial experience, and everyday life.
藝術家與協同創作者作品介紹
（點擊照片查看介紹）
（點擊照片查看介紹）
作品介紹
在尋母體記憶的浪上
創作者｜林戎依
形式｜裝置藝術
媒材｜構樹樹皮、棉布、棉線、led燈
尺寸｜依空間而定
創作理念｜
樹皮布被形塑為如海浪般起伏的發光形體，在空間中展開為彼此呼應的島嶼。光線沿著纖維紋理滲出，引導身體行走與停留。觀者在靠近與遠離之間移動，使觀看於行走中生成；文化記憶不再指向固定來源，而是在反覆接近、穿越與回返的過程中被暫時喚起，如同一段持續行進的浪。
On the Wave of Seeking Maternal Memories
Artist｜Lin Jungyi
Medium｜ Installation
Materials｜ Paper Mulberry Barkcloth, Cotton Fabric, Cotton Thread, LED Lights
Dimensions｜ Variable
Artist Statement｜
Barkcloth is transformed into illuminated forms that rise like waves, unfolding throughout the exhibition space as islands calling to one another across the sea. Light filters through the layered fibers, guiding movement, pause, and encounter.
As viewers move between proximity and distance, the act of seeing is generated through walking. Cultural memory is no longer understood as pointing toward a fixed origin; instead, it is momentarily awakened through repeated approaches, crossings, and returns—like a wave that is forever in motion.
空白的可能
創作者｜林戎依
形式｜裝置藝術
媒材｜構樹樹皮、厚棉布、led燈、天然顏料（薯榔、木碳）
尺寸｜依空間而定
作品理念｜作品從阿美族樹皮布文化中未被完整記錄的歷史出發，思考在缺乏文字紀錄的年代，樹皮布是否曾作為承載圖像、知識與集體記憶的媒介。作品透過樹皮纖維堆疊與浮凸技法，呈現若隱若現、可能曾經存在的圖紋，指向歷史記憶中的空白與未知。當過去無法被完整追溯，我們如何理解這些文化痕跡？而這些未被填滿的空白，是否也能成為重新想像、研究與延續文化的可能？
（特別感謝參與樹皮布體驗工坊的學員回饋的樹皮布，將身體經歷一起寫進作品裡）
The Possibility of the Blank
Artist｜Lin Jungyi
Medium｜ Installation
Materials｜ Paper Mulberry Barkcloth, Cotton Canvas, LED Lights, Natural Pigments
Dimensions｜ Variable
Artist Statement｜
This work begins with the gaps and absences within the recorded history of Amis barkcloth culture. It asks whether, in the absence of written records, barkcloth may once have served as a medium for preserving imagery, knowledge, and collective memory.
Through layered barkcloth fibers and embossed textures, the work evokes traces of patterns that may once have existed, pointing toward the silences and uncertainties embedded in cultural history. When the past can no longer be fully recovered, how might we understand these cultural traces? Can these unfilled spaces become sites for reimagining, researching, and extending cultural knowledge?
Special thanks to the participants of the Barkcloth Workshop, whose donated barkcloth pieces carry their own embodied experiences into this work.
我在祢的歌與我世代的躁裡尋路
演出者｜梁瀚渝
道具｜葉子、廢棄物
時長｜約9分鐘 年代｜2025
協同創作與服飾創作｜林戎依
創作理念｜
作品以聲音與身體為出發，結合泰雅族 Lmuhuw 吟唱概念，將祖先歌聲與當代噪音交織，回應《在尋母體記憶的浪上》中行走於反思之中的狀態。從種子萌發到環境破壞的象徵，聲音成為連結身體、土地與跨世代經驗的媒介，探索和解與救贖的可能。
Seeking My Path Through Your Song and My Generation
Performer｜Liang Han-Yu
Medium｜ Leaves, Found Objects
Duration｜ Approx. 9 min
Year｜ 2025
Collaborative Artist & Costume Design｜ Lin Jungyi
Artist Statement｜
Beginning with sound and the body, this work draws upon the Tayal concept of Lmuhuw (chanting), weaving together ancestral songs and contemporary noise. It responds to the reflective journey explored in On the Wave of Seeking Maternal Memories. From the image of a germinating seed to symbols of environmental destruction, sound becomes a medium connecting the body, the land, and intergenerational experience, opening possibilities for reconciliation and healing.
