那裡魔神仔很多你還要回去

單場購票連結

桃園航空城的土地徵收與外在環境的不可控，交織著原生家庭巨變帶來的撕裂感，與家人期待背道而馳，使我對「家」充滿糾纏與困惑。
在即將消失的老家周遭，我以「寫生」與「走動」——非單純觀察，而是與政治場域的微小角力。並透過擷取日記片段、繪畫、錄像與行為藝術，將片斷的過去與近乎荒蕪的現在重新拼接。
對我而言，創作是面對困境時，投向現實巨牆的一顆顆小石子，試圖鑿出一個洞，窺見牆後關於活著的其他可能。

The land expropriation of the Taoyuan Aerotropolis and uncontrollable shifts in the environment intertwine with upheavals within my family, leaving me with a profound sense of fragmentation. Divergent expectations have entangled my understanding of “home.”
Around my vanishing childhood home, I engage in “sketching” and “pacing”—not mere observation, but minute wrestlings within a political terrain. By retrieving fragments of diaries, paintings, videos, and performances, I reassemble a fragmented past with a nearly desolate present.
For me, creating is casting small pebbles against the towering wall of reality, attempting to carve a hole to glimpse other possibilities for living beyond it.