混搭誌

Fusion Chronicle

「每一種觀看，都是在被觀看的歷史中誕生。」—— John Berger, Ways of Seeing

觀看從來不只是「看見」。也是我們如何感知事物、如何理解他者、如何回應世界，總是在無形中被經驗、語言、文化與知識所編碼。藝術創作於是成為一種干預與重組的行動：透過形象、顏色、敘事或結構，重新翻譯世界與我們之間的關係。

《混搭誌》匯集秋刀魚藝術中心８位藝術家的創作，他們以截然不同的方式參與這場轉譯過程。

有的從光與色彩的科學原理出發，重新建立知覺的邏輯；有的將感知投射於他者，藉由其視角進行敘事；也有的在自然與文明、日常與神話之間揉合出新的可能性，開展對觀看本身的反思與拆解。這些創作可能形式各異，卻共享一個核心：藝術不是複製現實，而是轉化與介入。

藝術創作不在僅是「再現」世界的圖像，而是「轉譯器」——它們以各自的語言運作，引導觀眾從不同的切面進入感知、思想與經驗的流動。角色的形象可能是媒介，而更深層的，是每位藝術家所採取的觀看立場與詮釋策略。

就如 John Berger 所指出的：「觀看」是一種文化行動，也是一種權力與感知的重組過程。

展覽希望邀請觀眾放下習以為常的觀看方式，進入這些「翻譯後的世界」。你所看到的，未必只是圖像本身；也許，是一種知覺被撬動的瞬間，是藝術家所引發的一種提問：我們所見，是否真為所是？

“Every way of seeing is a way of being seen.”— John Berger, Ways of Seeing

To see is never merely to look. Seeing is how we perceive things, how we understand others, and how we respond to the world. It is always invisibly coded by experience, language, culture, and knowledge. In this sense, artistic creation becomes an act of intervention and reconfiguration: through images, colors, narratives, or structures, it re-translates the relationship between the world and ourselves.

Fusion Chronicle brings together the works of eight artists from Fish Art Center, each engaging in this process of translation in distinctly different ways.

Some begin with the scientific principles of light and color, reconstructing the logic of perception. Some project perception onto the other, narrating through another’s perspective. Others weave together new possibilities between nature and civilization, the everyday and the mythical—opening up reflection and deconstruction of seeing itself. Though varied in form, their works share a core conviction: art is not the replication of reality, but its transformation and intervention.

Artistic creation is no longer just an image that represents the world, but a translator—operating in its own language, guiding viewers into the flows of perception, thought, and experience from different vantage points. Characters and figures may serve as media, but more profoundly, it is the stance of seeing and the interpretive strategies each artist adopts that matter.

As John Berger reminds us, “seeing” is a cultural act—an act of reordering perception and power.

This exhibition invites viewers to set aside habitual ways of looking and step into these “translated worlds.” What you encounter may not be just the images themselves, but the very moment when perception is unsettled—a question posed by the artist: Do we truly see what we believe we see?

黃敏俊 Huang Ming-Chun

回歸視覺藝術的本質研究，臨摹物象作為創作的基本條件之下，黃敏俊提出「反常態」的繪畫概念，試圖從十九世紀初哥德的色環到印象派繪畫的「外光理論」與二十世紀表現主義的「情感色彩」之間，塑造更貼近現實的觀看體驗。以顏料模擬光的色彩，以及電子產品散射的光線。將我們日常熟悉的視覺記憶加以「調頻」，讓觀者累積新型態的視覺認知。

Returning to the fundamental study of visual arts, where mimicking objects is a basic condition of creation, Huang Ming-Chun introduces the concept of "abnormality" in painting. He seeks to craft a viewing experience that is closer to reality by bridging the gap between Gothic's color theory from the early 19th century, the "En plein air" of Impressionist painting, and the expression of color by expressionism in the 20th century. Huang achieves this by simulating the colors of light using paint, as well as the scattered light from electronic devices. By "tuning" our familiar everyday visual memories, he allows the viewer to accumulate a new form of visual cognition.

流光溢彩 1 The Glimmering Drift 1
158.3x108.1cm / 油彩畫布 Oil on canvas / 2025

「光與色彩」是黃敏俊創作30多年來主要研究的課題，獨創的「光色合一」理論，透過全新的光色三原色「洋紅、黃、鮮綠」真實還原光的色彩，呈現出光的衰減與變化，透過實例與理論縮小繪畫與現實的差距，回歸光的本質，使畫面更具傳統繪畫所無法達到的真實與立體感。

"Light and color" has been Huang Ming-Chun's main research subject for more than 30 years. The original "The Redefinition of Primary Colors" theory truly restores the color of light through the new three primary colors (magenta, yellow, and viridian green) , presenting The attenuation and changes of light, through examples and theories, narrow the gap between painting and reality, return to the essence of light, and make the picture more realistic and three-dimensional that traditional painting cannot achieve.

1/萌1 moe-1

69.5 x 59.5 cm / 油彩畫布 Oil on canvas / 2025

2/萌2 moe-2

69.5 x 59.5 cm / 油彩畫布 Oil on canvas / 2025

3/雪 Snow

69.5 x 59.5 cm / 油彩畫布 Oil on canvas / 2025

4/雲 Cloud

69.5 x 59.5 cm / 油彩畫布 Oil on canvas / 2025

劉欣宜 LIU Shin-Yi

劉欣宜的作品無論是立體或平面，創造「某個當下」一直是畫面中的關鍵訊息，孩童的容顏、飛舞的頭髮、雨後的光景……具體呈現每一個深植記憶的當下。以孩童形象作為創作主體，因純粹的靈魂不善於偽裝，與成人相比更能接近內心真實的自己，以及象徵身處巨大世界的渺小無助。

Regardless of whether LIU Shin-Yi's works are three-dimensional or two-dimensional works,"capturing the moment" has always been a crucial element within the imagery—whether it’s the innocent faces of children, hair flowing in the wind, or the scenery after a rainstorm. These elements concretely express each moment deeply ingrained in memory. The child figure serves as the central subject, as their pure soul, less inclined to conceal, is closer to their true inner self compared to adults. This also symbolizes the smallness and vulnerability of being in an immense and overwhelming world.

回憶 Memory

21 x 20 x 26 cm /銅、油彩 Copper, Oil paint /2024

陳修橋 CHEN Xiu-Qiao

陳修橋將東方文化濃縮在雕塑作品當中，並以動物形象作為象徵，將書法筆觸化作雕刻的刀痕，採用鏤空替代留白的美學，讓動物造形增添虛實交錯的輕盈感受，流暢的線條則帶出靈動的視覺感受，最後輔以精神性的色彩，讓作品呈現奔放的當代風格。

CHEN Xiu-Qiao condenses oriental culture into sculptures and uses animal images as symbols, , the artist transforms the brushstrokes of calligraphy into carved lines. The use of hollow spaces replaces traditional blank space, adding a sense of lightness through the interplay of solidity and void in the animal forms. Flowing lines evoke a dynamic visual experience, while the use of spiritual colors infuses the work with a sense of vitality, presenting a bold, contemporary style.

**平凡：勇氣 Ordinary: Courage**
上 40 × 22 × 40 cm, 下 23 × 22 × 37 cm

平凡：勇氣 Ordinary: Courage

樟木、油彩、不鏽鋼台座 Camphor wood, Oil paint, Stainless Steel / 2025

風雪中前行 Braving the Wind and Snow

29 x 26 x 40 cm / 樟木、油彩 Camphor wood, Oil paint / 2025

浮萍 Duckweed

34 × 25 × 34 cm / 樟木、油彩、不鏽鋼台座 Camphor wood, Oil paint, Stainless Steel / 2025

曖昧 Chemistry

樟木、油彩 Camphor wood, Oil paint / 2025

林安常 LIN AN-CHANG

林安常以各種野生動物作為雕塑主題，強調自然真實的鑿刻風格，少以修飾的表面肌理，淡薄的色彩計畫，展現自然原始的生命力，藉此喚起人類對於環境的最初記憶，雕塑在此除了表現現存的景觀，更為消逝中的風景留下紀念。

LIN An-Chang uses various wild animals as the main subject of sculpture, the artist emphasizes a raw and authentic carving style with minimal surface embellishments and a subtle color palette. This approach highlights the primal vitality of nature, aiming to evoke humanity's earliest memories of the environment. The sculptures not only depict existing landscapes but also serve as a tribute to vanishing natural scenes, preserving their memory before they disappear.

**歸鄉 Go Home**
42 x 11 x 23.5 cm / 樟木、銅箔、銀箔、胡粉、壓克力上色 Camphor wood, Copper foil, Silver foil, Oyster Shell Powder, Acrylic / 2025

在岩壁上綻放Blossoming on the cliff

45 x 18 x 22 cm / 樟木、銅箔胡粉、壓克力上色 Camphor wood, Copper foil, Oyster Shell Powder, Acrylic / 2025

島嶼漫流 Island Drift

113 x 42 x 25 cm / 南洋杉、松木、胡桃木、金箔、胡粉、不鏽鋼、壓克力上色 / Araucaria cunninghamii, Pine Wood, Walnut, Gold leaf, Oyster Shell Powder, Acrylic / 2025

朱媛汝 CHU YUAN-JU

塑造「分身」向來是創作者在作品中述說故事的手法之一，朱媛汝為欣賞打開一扇親切的迎賓大門，並以自身美感經驗構成可愛的造型風格，也透過角色的獨特造型隱喻作者自身的特質，引導觀者跟隨角色走入各種情境，理解作者遭遇的種種問題。

The creation of "avatars" has long been a storytelling technique used by artists in their works, opening a welcoming door for viewers. By incorporating their aesthetic experiences into charming, stylized forms, the artist uses the unique design of these characters to metaphorically reflect their own traits. Through these characters, the artist guides the audience into various scenarios, inviting them to explore and understand the challenges the creator has faced.

**夢遊–兔女孩 Wonderland-Bunny Girl**
17 x 17 x 30 cm / 陶瓷 Ceramic / 2025

**夢遊–獨角獸 Wonderland-Unicorn**
16 x 16 x 26.5 cm /陶瓷 Ceramic / 2025

蔡任萱TSAI JEN-HSUAN

蔡任萱曾任3D動畫模型師、定格動畫偶製作師及獨立音樂錄影帶導演，並將這些跨領域的經驗融入其雕塑創作之中。她的作品探究石粉黏土、樹脂、陶瓷、木材與銅等多種材質的觸感可能性，在工藝技術與情感表現之間建立細膩的平衡。
透過作品溫柔的神情，藝術家試圖喚起人與人之間內在共鳴的細微迴響。

With a background as a 3D animation modeler, stop-motion puppet maker, and independent music video director, Ina weaves her diverse experiences into her sculptural practice.Her works explore the tactile possibilities of stone clay, resin, ceramics, wood, and copper, blending craftsmanship with emotional resonance.

Through the tender expressions of her creations, she seeks to evoke the subtle, shared echoes that lie within the human heart.

魚蛹 Fish pupa

10 x 10 x 39 cm / 樟木、膠彩、葡萄石 Camphor wood, Gouache paintin, Prehnite / 2025

邱博楷CIOU BO-KAI

邱博楷的創作核心是一種具識別性的圖像風格，他結合裝飾性元素與插畫式結構，形塑出鮮明的視覺語彙。作品中常出現風格化的山水、動物與花卉圖像，以平面化與象徵化的手法構築敘事性的空間，並在其中注入親密與幻想的氛圍。這樣的個人象徵體系突破了文人畫的古典美學，開展出嶄新的神話詩學想像。

At the core of Ciou’s work is a distinctive iconographic style, in which he integrates decorative elements and illustrative structures to build a highly recognizable visual language. His compositions often feature stylized landscapes, animals, and floral motifs rendered in flat, symbolic forms, constructing narrative spaces imbued with both intimacy and fantasy. This personal symbolism departs from the classical aesthetics of literati painting and opens up new mythopoetic possibilities.

**野狗 Feral Dog**
27 x 44 cm / 礦物、紙本、洋金箔 Mineral pigments, Paper, Brass leaf / 2025

作品中反覆出現的靈獸與虛構自然，映照了藝術家在都市生活中的心理協商，以及對山林靜謐的嚮往。透過這些幻想化的地景，他思考並回應個人經驗、社會處境與環境議題。

Ciou’s recurring imagery of mythical beasts and imagined nature reflects his psychological negotiation with urban life and his longing for the tranquility of the mountains. Through these fantastical terrains, he engages critically with themes of experience, society, and environment.

**沙灘上的野狗 Feral Dog on the Beach**
42.5 x 39 cm / 礦物、紙本 / Mineral pigments, Paper / 2025

**野狗熱狗 Feral Dog, Hot Dog**
42.5 x 39 cm / 礦物、紙本 Mineral pigments, Paper / 2025

游峻榮 YOU JING-RONG

游峻榮在寫實雕塑技法中，運用異位的排列組合呈現生命體，讓動物與人類組成耐人尋味的新樣態。同步訴說人類與動物共有的狀態，是失去話語權的人類？抑或是生來無法言語的失格？超現實的造形解構現實的視覺，讓雕塑除了具體呈現形象之外，也能闡述創作者欲傳遞的訊息。

In realistic sculpture techniques, YOU JING-RONG uses displaced arrangements to present life forms, creating intriguing new combinations of animals and humans. This approach simultaneously conveys the shared conditions of both species—is it the voicelessness of humans who have lost their power of speech, or the inherent silence of creatures born without it? The surreal forms deconstruct the reality of the visual world, allowing the sculptures to not only depict tangible shapes but also to express the deeper messages the creator seeks to convey.

三個關於睡眠的注解。

睡眠是個複雜的狀態，有時不得不抗拒它;有時又不想脫離它。

透過枕頭的造型、女性與長頸鹿的睡顏等等方式試圖以有趣的方式為睡眠一事提供屬於我的注解。

Three Notes on Sleep.
Sleep is a complex state—sometimes we resist it, sometimes we refuse to leave it. Through forms such as pillows, the sleeping faces of women and giraffes, I attempt to offer my own playful interpretations of the act of sleep.