Swamp｜沼澤
Acrylic on fabric and branch
120 x 110 cm
2026


These five works presented in the exhibition explore the imagined inner landscapes of the body, drawing inspiration from the natural environment of Yim Tin Tsai and the traces of past habitation within the old Hakka house where the exhibition took place. Through repeated visits to the island, Wong collected branches and observed the ways in which nature, architecture, and remnants of human presence coexist. These encounters became the starting point for imagining an internal terrain, where memory, perception, and subconscious experiences take shape. Root systems, nervous systems, mountainous landscapes, and primitive symbols emerge as ambiguous forms, suggesting connections between the external natural world and our internal existence.

Created through intuitive processes of painting, drawing, and burning, the works incorporate natural materials such as branches and leaves, bringing physical fragments of the island into the artworks. Layers of marks, stains, and gestures accumulate across the surfaces, echoing the traces of time, growth, and decay found in the surrounding environment and the old Hakka house. In some works, fire becomes a means of mark-making rather than simply a destructive force, producing unpredictable burns, holes, textures, and discolourations. Through these processes, chance and the materials' own properties become active participants in shaping the works.

Rather than directly depicting the island or the house, the works transform impressions of the external landscape into an imagined world within the body. Through the interplay of intuition, material, and memory, the boundaries between body and landscape, internal and external, begin to dissolve, suggesting an interconnected terrain where human and non-human forms of existence overlap. 展覽中的這五件作品探索身體內部的想像地景，靈感源自鹽田梓的自然環境，以及展覽所在的客家老屋中留下的昔日生活痕跡。透過多次實地考察，黃雅珊在島上收集樹枝，並觀察自然、建築與人類活動留下的痕跡如何在同一空間中並存。這些經歷成為想像身體內在地景的起點，讓記憶、感知與潛意識中的經驗逐漸浮現。植物根系、神經系統、山巒地貌與原始符號般的形態在畫面中交織，游移於不同意象之間，暗示外在自然世界與身體內部存在的相互聯繫。

作品透過直覺性的繪畫、描繪與燃燒過程生成，並結合樹枝、葉片等自然物料，將島嶼的物質碎片帶入作品之中。層層疊加的筆觸、色斑與痕跡在表面累積，呼應自然環境與客家老屋中時間、生長及衰敗留下的印記。在部分作品中，火焰不僅是破壞性的力量，亦成為一種留下痕跡的創作媒介，在物料上形成難以預測的焦痕、孔洞、肌理與色彩變化。透過這些過程，偶然性與物料自身的特質亦成為創作的參與者，讓作品的最終形態不再完全由藝術家掌控。

作品並非直接描繪島嶼或老屋的景象，而是將外在地景所帶來的感知與印象，轉化為身體內部的想像世界。透過直覺、物料與記憶之間的相互作用，身體與自然、內在與外在之間的界線逐漸消融，呈現出人與非人相互交織、彼此連結的存在狀態。