最近幾年，我對藝術的看法及創作的態度有了很大的改變，過去我所矜持的創作個體，在今天看來已經不再是至為重要的事。我甚至覺得將自己讓渡出去後，自已變得更輕鬆、更自在。這種轉變其實從2009年在伊通的《美哉台灣》個展中已經顯露出來。

本次展覽的所有物件和上述個展中的舊圖片一樣，都是我長期逛跳蚤市場或輾轉從古董商於老舊屋舍拆除後轉手得來的。陳舊的物件不必然都能吸引我，這意味著，並不是任何物件都可以。我的選擇中隱含著一定的條件，它們通常沒有太強的象徵，我尋找的是一種滯留於物件上的斑駁痕跡，然而這種痕跡並不是一種傳遞時間之久遠的「累積性」時間，而是一種自外於我們目前所處時代的「自足性」時間，以致於，我們面對著的並不只是一個、一個的老物件，而是一段、一段被包覆在物件及其時代光暈中的「時空封包」。

這些偶得的遺棄物，或者更確切的說，是一堆兀自喃喃自語的「時空封包」，它們看似充滿信息，但吊詭的是，它們所傳遞出來卻是一堆無法且無能指出確切內容的信息。我們只能約略地從一段段的斷線信息中拼湊、追蹤。一種沒有意義終點的追蹤。

這些被遺棄的軀殼儘管我任意擺設，試圖想讓它們從原有的脈絡中釋放出來，但後來只能更證明它們愈是頑強地守護在它們的時代信息中。這些留置在某個時間點的老物件對於此地不斷遺棄與加速的人們而言，顯得格外刺眼。人們因怕被遺棄，而不斷遺棄，就如同擁有老舊手機所令人感到的不適與難堪。

在這個展覽中，被遺棄的老舊物件的現場擺設及其二維影像構成，它們與人們對質的不是別的，正是時間的痕跡。不斷揚棄痕跡是為了迴避看見自身的歷史與處境，然而到頭來，人們的窘境卻仍被這些意外所保留下來的遺棄痕跡給見證了：不斷遺棄是怕被遺棄，尤其對於一群既沒過去也沒明天的亡命之徒而言。

In recent years, my opinion to art and attitude of creation has changed dramatically. The primordial importance that I once placed to the personal creation no longer considered that important to me. To let myself go now even makes me feel easier and more comfortable. The Exhibition “Oh, Formosa” at IT Park in 2009 has already revealed such a change. 



All objects in this exhibition as well as the old pictures in “Oh, Formosa” are the fruits of my stroll through the flea market. Some of them came from the antique dealer who acquired them after the demolition of old houses. Old objects do not necessarily attract me. That means that not everything goes. My choices are made under certain implicit conditions. They generally have no symbolic meaning. While what I was looking for are objects covered with the marks of time, I was not interested in the "cumulative" time which communicates a long history, but in the "closed" time which goes far beyond our contact. That makes what we face are not just old objects, but time packets closed in their halo of age glowing around them.



These objects that are abandoned and then found unexpectedly, or more precisely, this pile of time packets that is murmuring alone, seems full of messages, but paradoxically conveys only a bunch of messages with no exact meaning. We can scarcely piece together the puzzle and try to track the broken messages. A track with no end of meaning. 



Despite every effort on my part to release the abandoned shells from their original contexts, they are only proven to get even more tenacious. These old objects left at some point in time may appear even more harsh to the people here who keep on abandoning and accelerating. The never ending abandonment is driven by fear of abandonment, just like the discomfort and embarrassment caused by the old cell phones. 



It is none other than to reveal the trace of time that people confront with the arrangement of the abandoned old objects in the exhibition and their compositions in the images. People keep abandoning to avoid seeing traces of their own history, but their predicament may yet be witnessed through the trace accidentally preserved by the abandoned objects: to keep abandoning for fear of being abandoned, especially for a group of people having neither past nor future and exiled from himself.