Fiery Ink, Replacing The Guo Xi 's Early Spring, No. 2
《火墨．郭熙早春圖No. 2 》
Performance and Installation in Tina Keng Gallery, Taiwan
Through presented a performance/installation piece from the “Fiery Ink” series where she conducts a ritualistic performance that brings forth an installation in the form of worship, as a metaphor for the modern-day survivor surrounded by the remains of what was once transcendental, lamenting the bygone shanshui and the unrelenting passage of time.
「火墨」的行為裝置作品，透過儀式性的現場行為創作與祭祀性的裝置型式，隱喻著當代生存者佇立在古典水墨的勝景灰燼中，既是對歷史變遷進行唏噓奠祭，亦是透過行為讓「火墨」的觀念性更具有身體性與在場性。
「火墨」的行為裝置作品，透過儀式性的現場行為創作與祭祀性的裝置型式，隱喻著當代生存者佇立在古典水墨的勝景灰燼中，既是對歷史變遷進行唏噓奠祭，亦是透過行為讓「火墨」的觀念性更具有身體性與在場性。
Fiery Ink, Displacing Guo Xi’s "Early Spring" No.2 , Installation
Xuan paper charcoal ash on Xuan paper and wood board with acrylic frame, burnt paper roll, Xuan paper charcoal ash, glass bottle, candle, glove, white wooden round platform
《火墨．郭熙早春圖 No.2》, 裝置
宣紙炭灰．宣紙裱板．壓克力框．灼宣紙卷於玻璃皿．輸出圖片．蠟燭．隔熱手套．白色圓木台
Painting/ 158 x 108cm
Round wooden platform/ 350x 350 cm
2017
Xuan paper charcoal ash on Xuan paper and wood board with acrylic frame, burnt paper roll, Xuan paper charcoal ash, glass bottle, candle, glove, white wooden round platform
《火墨．郭熙早春圖 No.2》, 裝置
宣紙炭灰．宣紙裱板．壓克力框．灼宣紙卷於玻璃皿．輸出圖片．蠟燭．隔熱手套．白色圓木台
Painting/ 158 x 108cm
Round wooden platform/ 350x 350 cm
2017
