[ 想要勾著一些樹跟鳥 - 李兆起個展 Want to Hook on to Some Trees and Birds - Li Jhao-Ci's Solo Exhibition ]

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[ 展覽概念 Exhibiton Statements ]

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⾶彈介於樹幹之間，變形的⾝體介於房屋之間介於⾶彈之間，連結的，與割裂的，在盡頭的末端看到的是⾃⼰的另⼀半，⼀種狗追逐⾃⼰尾巴的⽭盾，不斷循環，把抵抗、無⽤，⽤揶揄的⽅式藏在畫裡頭，像是⼀種偽裝孩童式的積⽊遊戲。

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這是⼀種與童書接近的繪畫，構圖被簡化和平⾯化，包裹著無邪和童真的糖衣，背後的故事充滿了現實的折射⾯，無聲地向觀者步步逼近，卻⽀離破碎，彷彿是歷史斷層的遺落。繪畫正是書寫的發⽣，在半⾃動、如降靈會的過程中，某些東西也正在向我逼近，荒蠻、暴⼒和政治在此隱身，以看似無害的姿態。

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如果寓⾔帶有隱喻和啟迪的功能，繪畫之於我，更像是把藏匿於⽇常的種種揭發出來，讓無聲的故事變成圖像，如童謠之於記憶，寓⾔早在被解讀前已經暗⾃存在。腦海中的意象幻化成符碼，時而扭曲，時而交錯，在畫的邊界之間形成詭異的互動關係，等待被閱讀、拆解。

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畫作以各種礦物粉為基底材，形成不規則、斑駁和充滿痕跡的肌理，試圖虛構遠古的時間性。但歷史從不真正存在，它更貼近某種篡改、預⾔，像當代的巫術，在虛構的同時，某種比現實更真實的東西被揭開，原始和⽂明的界線被消解，召喚圖像背後的鬼魅。

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想像如植物般蔓⽣，當它們被書寫和固定，即離開本來的⼟壤，成為被凝視的對像。 除了繪畫作品，植物裝置作品成為寓⾔的另⼀個切入點。仙⼈掌遠離了原產地，來到遠東卻必須以嫁接的⽅式存活，在異質的拼貼和共⽣下，隨環境和時間變形，本來演化出的⽣存機制失效，任⼈佈置組裝，⼀再篡改。身上的尖刺不再象徵著凶悍，只能無⼒地懸掛在異地中，更像失效的武器。

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The missiles are between the tree trunks, and the metamorphic bodies are between houses and the missiles. Connected and severed bodies, at the very end, what is seen is another half of oneself. Like a dog chasing its own tail, the cycle goes on and on. The hiding resistance and uselessness in a mocking way in the painting is pretending like a childish game of toy bricks.

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This is a type of painting similar to children's books. The composition is simplified and flattened, wrapped in the sugar coating of innocence, but the stories behind it are full of reflections of reality, approaching the viewer step by step silently, yet it is fragmented, as if it's in a historical gap. Painting is the occurrence of writing. Something is approaching me in this semi-automatic and séance-like process as well. They have seemingly harmless postures, where barbarism, violence and political matters are hidden.

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Fables have the function of metaphor and enlightenment, while painting is able to reveal things hidden in daily life. It turns silent stories into images, just like nursery rhymes in the memory. Fables already exist in secret before they are interpreted. The images transform into symbols. Sometimes they are distorted and sometimes intertwined, forming a strange interactive relationship between the boundaries of the painting, waiting to be read and interpreted.

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Various mineral powders are used in the paintings as the first layer, creating irregular and mottled textures full of traces, attempting to construct a sense of ancient time. But history never really exists. It is closer to some kind of tampering and prophecy as a contemporary witchcraft. Something more real than reality is disclosed, and the boundaries between primitive and civilization are dissolved, calling the phantom behind the images at the time of fabrication.

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Imagination spreads like plants; once they are written and fixed, they leave their original soil and become objects of observation. In addition to the paintings, those plant installations have become another entry point for the prophecy. The cactuses are far from its native land and must survive by grafting here. In this heterogeneous collage and symbiosis, they deform as the environment and time change. The survival mechanisms that originally evolved have failed, and it can be assembled and tampered with by others. The spikes on their bodies no longer symbolize defense. They can only hang helplessly in a foreign place, more like a useless weapon.

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[ 展覽資訊 Exhibition Information ]

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想要勾著一些樹跟鳥 - 李兆起個展 Want to Hook on to Some Trees and Birds - Li Jhao-Ci's Solo Exhibition

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展期：2024.11.30 - 2025.01.19

時間：14:00 - 20:00，每週一二公休

地點：毛刺空間 Glitch

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藝術家：李兆起

特別感謝：劉沁、劉詩敏、張文豪、鄺鉅裁(展覽論述兼視覺設計指導)

策展團隊：Nñg Project

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Dates: 2024.11.30 - 2025.01.19

Opening Hours: 14:00 - 20:00, Closed every Monday and Tuesday

Location: 毛刺空間 Glitch

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Artist: Li Jhao-Ci

Special Thanks: Liu Chin, Lau Sze Man, Liu Wen-Hao, Kwong Kui Choi

Curatorial Team: Nñg Project