潛行
Stealth
「萬物皆有裂縫，那是光照進來的地方。」 —— Leonard Cohen
"There is a crack in everything. That’s how the light gets in." — Leonard Cohen
藝術家為何要「潛行」？
作為謙卑的觀察者與誠實的記錄者，潛行是一種姿態。遊走在歷史、文化與環境的縫隙中，試圖揭露那些在主流敘事下，可能被遮蔽或忽略的真實。策展人胡朝聖指出，「潛行」並非退隱，而是一種積極的實踐。臺東美術館當期展覽《潛行》探索的便是介於歷史與當下、主流與邊緣、自然與人造之間，不斷變動的地景，掙扎前行的文化，以及脆弱矛盾的共生。
Why do artists move “stealthily”?
As humble observers and honest recorders, stealth is a posture. Navigating the fissures of history, culture, and environment, artists seek to reveal truths that might be hidden or overlooked in mainstream narratives. Curator Hu Chao-Sheng emphasizes that stealth is not retreat, but an active practice. The current exhibition Stealth at Taitung Art Museum explores shifting terrains—between history and the present, mainstream and marginal, natural and artificial—as well as cultures that struggle forward and fragile, contradictory forms of coexistence.
三位藝術家的潛行路徑
周代焌的創作從地貌變遷、族群遷徙、舊地圖等素材出發，以繪畫作為工具，測量土地在不同時期被劃界、覆寫與侵蝕的痕跡，使得他筆下的地景並非現實的再現，而是不斷移動與重組的模糊過程。藉此回應單一的歷史敘事，並啟發重新定位的思考。
Three paths of stealth
Chou Tai-Chun draws on shifting landscapes, migrations, and old maps. Using painting as a tool, he traces how land has been demarcated, overwritten, and eroded over time. His landscapes are not literal reproductions, but blurred processes of movement and reorganization, responding to singular historical narratives and inviting reconsideration of cultural positioning.
➤ Chou Tai-Chun, Signals from the Forest, 162x240cm, Acrylic on canvas, 2025. & Chou Tai-Chun, Becoming the Other’s Point of View, 200x60x30cm, Mixed media, 2025.
➤ Chou Tai-Chun, In the Grip of Heavy Air, 140x100x160cm,
Stainless steel, brass, cypress wood, glass, tempered glass, birch plywood, firebrick, vegetable-tanned cowhide, leather, metal hardware, ceramic, Formosan muntjac antler. 2024.
尹子潔的潛行以「三腳狗」為核心意象，將其轉化為原住民族在現代化過程中遭受文化斷裂傷痛後，仍持續跛足前行的隱喻，也象徵在權力壓迫與環境縮限下不對等的生存節奏，並以這樣的「殘缺」在主流敘事中展現溫和而堅定的抵抗力量。
Yin Zi-Jie centers on the motif of the “three-legged dog,” transforming it into a metaphor for Indigenous peoples’ cultural ruptures and resilience amid modernization. It also symbolizes the uneven rhythm of survival under power and environmental constraints. Through this “imperfection,” her work quietly but firmly resists mainstream narratives.
➤ Yin Zi-Jie, How to get Balance, Mixed media, 2025.
廖昭豪長期觀察台灣城市與東海岸的工業景觀，並關注那些過渡性的功能物件。他的創作使用紙漿翻模再現水泥的形體，然而卻反轉其堅固的屬性，使《消波塊與浮球》呈現出不可思議的矛盾感與脆弱性，深刻揭示人造與自然間既共生又矛盾的複雜關係。
Liao Chao-Hao has long observed Taiwan’s urban and East Coast industrial landscapes, focusing on transitional functional objects. Using paper pulp to replicate concrete forms, he subverts their solidity, giving Tetrapods and Buoys a paradoxical fragility that reveals the complex, intertwined, and often contradictory relationship between the artificial and the natural.
➤ Liao Chao-Hao, Imprint of water：Breakwater Blocks and Buoys, 190x190x190CM. 120x100x100cm / 96x96x40cm / 86x96x66cm. Pulp, Wood, Chinese ink, Foaming. 2022.
➤ Liao Chao-Hao, Imprint of water：Breakwater Blocks and Buoys, 190x190x190CM. 120x100x100cm / 96x96x40cm / 86x96x66cm. Pulp, Wood, Chinese ink, Foaming. 2022.
➤ Liao Chao-Hao, Imprint of water：Breakwater Blocks and Buoys, 190x190x190CM. 120x100x100cm / 96x96x40cm / 86x96x66cm. Pulp, Wood, Chinese ink, Foaming. 2022.
於潛行中找出一條未被定義的路
這三條潛行的軌跡——歷史的、文化的、環境的——在展場中彼此交織。觀者在觀展過程中，亦成為潛行者，藉由多走進一步模糊地帶的陰影，以及多深入一層的提問與思考，交疊不同觀點以重新梳理主流敘事，使那些被掩蓋的歷史與經驗得以浮現。
