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Wang Yu-Song

王煜松 

A Forest Without Leaves

沒有葉子的森林

2025 台北當代藝術館《安全室》聯展

Safe Room

Group Exhibition, Museum of Contemporary Art Taipei (MOCA Taipei), 2025

The Net of Tides is a project that attempts to capture the tide.

The work takes the fixed fishing net as its point of departure. Unlike a conventional fishing net that catches fish or shellfish, this invisible net collects the continual movement of tides and the ecological changes they produce. Only the floating buoys remain visible, while the "net" itself exists through the relationships between gravity, seawater, living organisms, and time.

The spheres are constructed from discarded expanded polystyrene collected along the coast of Xiangshan and covered with oyster shells, seashells, and fiberglass. Although they appear heavy, they remain buoyant. During high tide, they drift across the sea like temporary islands, carrying fragments of the seabed onto the water's surface. During low tide, they settle across the tidal flats, revealing another landscape where crabs, shellfish, birds, and people continuously reshape the shoreline.

Rather than producing a static installation, the work relies on the changing rhythms of the tide. The arrangement of the spheres is never fixed. Each tidal cycle reorganizes their positions, while marine organisms gradually inhabit their surfaces. The installation is therefore co-authored by gravity, the moon, tidal currents, living organisms, and time.

Rather than capturing the sea itself, The Net of Tides attempts to make visible the invisible forces that continually shape the coastal landscape. The work proposes that a place is not defined by fixed boundaries, but by the continuous interactions between celestial forces, ecological systems, materials, and human activity.

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2024年花蓮大地震之後,山體鬆動的土石與樹木,在當年颱風帶來的大水中被沖刷而下,隨著洋流聚集於花蓮沿岸。那一年,花蓮從北到南的海灘幾乎都被大量漂流木覆蓋,原本熟悉的沙灘消失,取而代之的是一片由樹木堆疊而成的「木頭灘」。這樣的景象持續了很久,花蓮人的日常也因此改變:人們在清晨與傍晚前往海邊尋找漂流木,辨認木頭的氣味與形狀,將被挑選的它們帶回家;海岸長時間瀰漫著木頭的氣味,成為震後花蓮共同的感官記憶。

我們開始意識到,地震帶來的改變不只存在於倒塌的建築與改變的地貌之中,也進入了居住於此的人們的身體。我們不知道究竟是什麼被改變了,於是選擇再次以身體來靠近心中的疑惑。沿著漂流木的路徑,回溯這些樹木從山林到海岸的旅程,我們從海岸撿拾漂流木,帶往溪流上游,回到震後地貌已大幅改變的水源地,在河床上進行寫生。我們將漂流木現場製作成畫架,有些作品繪於紙上,有些則直接畫在溪中拾取的石塊上。

「沒有葉子的森林」描述的是海灘上那些由大量樹木組成的景象。它們原本生長於山林之中,如今失去了葉子與原來的位置,被水流帶往遠方,重新聚集成另一片森林。我們試圖回到它們來時的路徑,透過行走、搬運、觀察與繪畫,感受天災、自然與人的身體之間複雜的關係。在這個過程中,我們也逐漸意識到,以身體抵達現場寫生,不只是紀錄,更是在療癒和理解我們自身的一個過程。

作品於台北當代藝術館展出時,我們將大量從花蓮海岸拾取的漂流木運送至台北,並以漂流木鋪滿展間與長廊與牆面,展場中豎立數根頂立至天花板的大型漂流木,中央播放的錄像記錄了這場行動的過程,木頭的氣味在空氣之中,我們試圖在這個空間重新生成一個體感。

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沒有葉子的森林 中英字幕_1080p60 (1).mp4
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