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朋友們叫他「阿德」，當年「文化美術系事件」的關鍵人物，也因文大事件創立與同學共同創立「小草藝術學院」工作室，自許為永遠的「小草 N 號志工」，藝術學院長年持續以在台灣歷史文物中發現的圖像為載體製作明信片。除了台灣歷史文件的收藏，在藝術創作的方法學上發展出極具個人特色的地理學田野工法，透過立碑的行動揭示及再現被人忽略及被宏大敘事遺忘的重要台灣歷史片段。
Candice Jee’s practice concerns dialogues around trans-culturalism and its related actions, attempting to expose hidden histories, repressed memories, the connection of space with identity, and the amorphous relation between the individual and the state. She currently is thinking about how to apply the idea of the Chinese garden as an artistic form in order to open communication between different histories and cultures, untangling and entangling what constitutes notions of culture and cultural belonging.
Jing-Yun Ou applies painting as his main creative form. He often draws on mythical narratives of loss, joy, the sensual and the universe as his creative resource. These serve as creative methodologies through which he produces violent content, extending these notions into the medium of painting and the creation of sensory visual works. In his work can be perceived representations of war, pleasure, religion and the mania of the human condition, with some aphrodisiac and intent to influence the viewer to think about the meaning of shame and notions of evil.
Shao-Ying Huang’s work involves her creative response to personal experiences. She frequently enacts the method of watching the bodies of others, which initiates her thoughts upon living conditions. Moreover, the visitors are forced to consider how the human being prepares themselves in order to live in our society. For example, people habitually change their appearance and intentions to comply with social expectations. After extended artistic research, through spatial creative practice, she often applies a variety of different ways to respond to what she sees behind the physical body, meanwhile looking for another kind of possible shape – the original appearance.
Feng-Tsung Chan develops his artistic concerns upon the long-term relation between nature and human civilization. In particular, his artistic works of sculpture and installation come together to form a “material party” – an assembly of found objects, the ready-made and natural materials. Through this, he uses intuitive means to explore the human desires that operate within the material flow of energy and the life cycle. In the reception of his work, he wishes that his viewers engage in a slow process of contemplation, establishing a private relationship between the individual and the physical. This reflects the mainstream values in our world of capital and endless development. Ultimately, the work provides a chance for us to become aware of our habitual reactions, triggering a game with our thoughts, and a willingness for their renewal.
Friends call him “A-de”, and he was also a key figure in the historical event of the Department of Fine Art in the Chinese Culture University. During this period, he and his classmates established the studio “Grass Arts Academy". The studio at present continues their practice of producing postcards, printed with traditional images found within Taiwan’s historical documents. Apart from his collection of Taiwan’s historical documentation, he also developed his artistic methodology through geographical fieldwork techniques. Though the performance of erecting stones in the field, his artistic project reveals important elements of historical events that Taiwanese people tend to ignore.
The main themes that appear in Tomoya Akamine’s work consist of ‘Okinawa,’ ‘dancing people,’ ‘energy,’ ‘life,’ and ‘vitality’. His artwork expresses present-day life in Okinawa. Okinawa is his hometown, and it is located in one of Japan’s southern prefectures. It consists of hundreds of the Ryukyu Islands. Moreover, Okinawa is said to have the most beautiful beaches in all of Japan, and It is surrounded by nature. The living experiences in Okinawa gives him the most idea for his creative works.