得知外婆死期後，我開始收錄其口述歷史。作品分成：相框中、相框外，透過身體移動改變音場，以不同介質（水、空氣）傳遞聲音，交互敘事。在相框中，觀者須潛入水裡，透過骨傳導接收聲音。不同於空氣中的聆聽經驗，不僅是用耳朵聽到聲音，而是讓身體介入震動的頻率，由體內產出聲響，就像深沈的記憶。其中，第三者（我與母親）聲音缺席了，僅存外婆的描述，讓對話的另一端斷裂而開放，空白留給觀者的內在聲音填補。在相框外，沒有人聲，而是口述歷史的環境音，與畫中空間的故事同步進行。再現口述歷史中那年代的戰爭、勞動、女性、愛情...等，甚至是面對死亡的幻覺。
After learning about the grandmother's death, I began to record her oral history. Relevant works are divided into: the inside of the frame, the outside of the frame, changing the sound field through bodily movements, conveying sound waves through different media (water, air, etc.), and interactive narration of stories. In the frame, the viewer must dive into the water and receive sounds through bone conduction. Different from the experience of listening through air, we not only hear sounds via our ears, but also let the body intervene in the frequency of the vibration, so that the sound can be produced by the body, just like a lingering memory. Wherein, the voice of third parties (my mother and I) is absent. Only the description of the grandmother is left, which makes the other end of the conversation broken and open, and allows the viewer to fill in the blank spaces with their own inner voices. Outside the frame, there is no human voice, but the environmental sounds from the oral history are present and synchronized with the story of the space in the frame. The war, labor, women, love, etc., of way back then are represented through oral history…even the illusion of facing death.
TO BE CONTINUED ...