《撕裂傷：不斷分裂的禁忌地圖》是一個索引社會中的禁忌和治理關係的脈拚（mapping）過程。透過電影角色對應社會事件標誌出的地理位置：六本木、台北、香港、曼谷四個真實座標串聯，在地圖上劃下一刀。這個視覺意象指涉了在我們的現實社會中，陳舊而僵化的社會禁忌，成為一種傷痛，阻擋了大眾認知性別與性意識的可能性。如果不願意去碰觸禁忌的邊界，甚至探究禁忌為何存在，對於性別灰階的認知並不會因此保持現狀，而是伴隨著忽視與遺忘，向下沉淪。

而在我的思緒裏頭，談論性別議題並不會單單定錨在性別本身。以結構上來看，這樣的命題需要回朔源頭：意即如何使觀眾意識到破除一切已僵化的思考邏輯的酷兒意志，其實和生命如何面對身份、國族、意識形態、精神價值是相互交疊的。而這場展覽中的所有調度，便是為了嘗試實踐這個認知，使得台灣的創作者在性別、性意識及文化政治的議題中能夠有更基進改變之可能性。

Laceration: the Infinite Splitting of Taboo Map is a mapping process that indexes taboos and governance relationship of societies. As though drawing a knife on the map, this process connects four reality spots, namely Roppongi, Taipei, Hong Kong, and Bangkok, through correspondence between film characters and geographic locations that were marked by social events. This visual imagery implies that social taboos that are obsolete and rigid, has become agony in our societies. It blocks the probability of the public to acknowledge gender and sexual consciousness. If we are unwilling to exceed the boundaries of taboos and explore the reason why the taboos exist, our consciousness towards gender grayscale will hence not maintain the status quo, results in falling down with ignorance and oblivion.

In my thoughts, talking about gender issues will not only focus on gender itself. In terms of structure, this sort of proposition needs to trace back to origin: literally how to make the audiences aware of the fact that queer will that breaks every rigid thinking logically is overlapping the ways the life deal with identity, nationality, ideology and spiritual values. The mise-en-scene of this exhibition is an attempt to practice this consciousness so that the Taiwan artists will likely have radical changes in gender, sex consciousness and cultural, political issues.