taochi tanchi solo exhibition —— free’eeeee展覽介紹

常常有人問我為何不做花器，每次我都不知怎麼回答。可能因爲上班都要聽業主的，私下創作就想全然任性，初始設定就做抽象雕塑，不二意。

去年在台南辦展後卻有了變化，對創作頓感茫然、多了幾分猶疑。也恰巧當時的我看了動畫《冥王PLUTO》，有一集的機器人諾斯2號被設計成打仗的殺人機器，世界和平後他退下戰場，成為人類鋼琴師的管家，慢慢在音樂的觸動下開始學習彈琴。夢想著他的手再也不只是殺敵的手，而是有選擇的自由，朝新的方向進化自我。

深受啟發的我突然開竅，選擇不是非Ａ及Ｂ。也許我不該執著原廠設定，這念頭將我從自我中釋放（free from），找到比原來的自由更自由一點點的創作信仰。

之後如常的捏塑，在沒太多預設下捏出了：似器非器、高舉著糰子手加油的大力瓶。神奇的雙手比我更了解自己，決定幫我擁抱一些新想法、同時放手讓一些舊堅持離去。像雕塑又像花器的陶反映現在的心境：想被喜歡和理解，偶爾仍想叛逆，也別忘了雙手一舉自我鼓勵。

People often ask me why I don't make flower vases, and each time I don't know how to answer. Perhaps it's because I have to listen to clients at work, so in my private creations, I want to be completely whimsical. My initial setting was to create abstract sculptures, and I was unwavering in that decision.

However, there was a change after organizing an exhibition in Tainan last year. I suddenly felt lost in my creativity, and there was a hint of hesitation. It just so happened that at that time, I watched the anime "Pluto", where there was an episode about the robot No. 2, designed as a killing machine for war. After world peace was achieved, he retired from the battlefield and became a butler for a human pianist, slowly learning to play the piano through the touch of music. He dreamed that his hands would no longer be just hands of destruction but would have the freedom to choose, evolving towards new directions.

Deeply inspired, I had a sudden realization and chose not to be confined to just A or B. This idea liberated me from myself, finding a slightly freer creative belief than before.

Afterward, I continued sculpting as usual, without too many preconceptions, and molded something that resembled a vessel but wasn't quite one—a powerful jar with hands made of dough raised in encouragement.

| 上樓梯後右牆 |

壁掛展示的胚布為本次展出作品的草稿。很多時候我會先將觀察到的線條隨意畫在紙上，在多次來回描繪後漸漸確定喜歡的形狀。不過我的立體空間感極差，往往從2D到3D時會發生「型變」，可以現場對照一下找找看對應器型。我也時常因眼下心情和興趣，或捏製過程中隨機的意外（撞到、裂開...），使成品與草稿有很大的差異。在製作這次的作品時我常常提醒自己回應當下冒出的想法和感覺，我想這樣的選擇表現出對於相信自己的直覺多了點自信，想練習在創作中更柔軟有彈性。

| After going upstairs, on the right-hand side wall |

The embryonic fabrics hung on the wall represent the sketches of the artworks exhibited this time. Often, I randomly draw lines observed onto paper, gradually determining the preferred shapes after multiple iterations of sketching. However, I have a poor sense of spatial perception, and "morphing" often occurs when transitioning from 2D to 3D. Therefore, I compare and match the corresponding shapes on-site. Additionally, due to my current mood, interests, or random accidents during the sculpting process (such as collisions or cracks), the finished product often differs significantly from the sketches.

| 上樓梯後中間空間 |

此區展示從草稿跳出來的7個大力瓶(muscle pot)：特意將乍看之下形狀似花器的瓶口封住，想帶出「解放」（Free from）的想法。也許我們可以將自己從既有的使用方法中解放，換個角度使用或詮釋這些似器皿又似雕塑的東西。這些大力瓶可以是收納的實用物件、也可以就是雕塑，都可以都好。部分作品結合了織帶和布料，延伸自從前所學和工作經驗，想用更自由有別於既有的視角去看待自己與陶的關係。

| After going upstairs, in the middle space |

In this area, seven "muscle pots" emerge from the sketches: deliberately sealing the vase-like shapes at first glance to convey the idea of "liberation". Perhaps we can liberate ourselves from the existing ways of use, and adopt a different perspective or interpretation of these objects that resemble both vessels and sculptures. These muscle pots can serve as practical storage items or simply as sculptures, and both are equally acceptable. Some pieces incorporate ribbons and fabrics, extending from previous learning and work experiences, aiming to view the relationship between oneself and pottery from a more freely different perspective.

這顆命名自宇多田光pink blood一曲的陶，便是在製作時邊聽歌受到鼓舞後捏出的。自信的雙手一插，我覺得的漂亮就是漂亮，無需向任何人說明。

This piece of pottery, named after the song "Pink Blood" by Hikaru Utada, was molded while listening to the song for inspiration. With confident hands, I felt that if I found it beautiful, then it was beautiful, without the need for any explanation to anyone.

cheerleader muscle pot結合織帶做連結效果，是因在捏製時我習慣先捏出器型本體，再於兩側挖洞外接把手。於是用了讓人愉悅的綁帶在接縫處，為自己的製程習慣做標記。

"Cheerleader Muscle Pot" combines ribbon to create a linking effect. This is because when I'm sculpting, I usually start by shaping the body of the vessel first, then carve holes on both sides to attach handles. So, I used pleasing ribbons at the seams as a marker for my sculpting process habit.

有一顆陶出窯後，他的瓶身有一道微微的小裂痕，除此之外一切都好。覺得好可惜好心疼！要是能幫他包紮的話多好。於是之後我做了這顆包紮的陶，這道小瑕疵反而讓他獨特。

After a piece of pottery was fired in the kiln, it had a slight, tiny crack on its body, but everything else was fine. I felt such a pity and heartache! It would have been so nice if I could have helped to wrap it. So afterwards, I made this pottery with wrapping, and strangely, that little flaw made it unique.

| 上樓梯後左牆前端 |

我將這面牆稱為「信仰牆」，靈感取材自歐洲老教堂修女的房間，通常房內佈置簡樸無華，唯有一面牆會裝飾著：十字架耶穌像、聖母照和一盞夜燈。我不信基督或天主教，僅想以這面牆的意念做象徵。重新詮釋了三個掛飾：雙手高舉的耶穌大力瓶、窗簾小壁燈、剛開始捏陶時我畫給自己的「自由玩陶」塗鴉。透過重新拼起那個曾被自己拋到腦後、摔碎的捏陶初衷，強化我獲得的新想法，讓創作新信仰在心中更有實感。

| Front end of the left-hand wall after going upstairs |

I refer to this wall as the "Wall of Faith", inspired by the rooms of European convents, which are typically simple and unadorned, except for one wall adorned with religious symbols such as a crucifix, an image of the Virgin Mary, and a night lamp. I am not a Christian or Catholic; I simply wanted to symbolize the concept behind this wall. I reinterpreted three decorations: the "Jesus Muscle Pot" with raised hands, the curtain wall lamp, and the "Play with Clay" doodle that I drew for myself when I first started sculpting pottery. This exhibition is like a ritual, reassembling the original intention of pottery making that I once discarded and shattered, reinforcing the new idea of "Free from" that I have gained, allowing the creation of a new belief to feel more tangible and weighty in my heart.

| 上樓梯後左牆後端＆1F櫥窗 |

2F左後側的壁掛作品和1F櫥窗抽象作品，皆為去年到雪國旅遊後製作的（早於free'eeeee的作品）。每天一走到室外所見就是被奶泡覆蓋的街景，光走在路上就有看不完的雪塑。把這有趣的發現捏成了被雪包覆的奇形怪狀，有的是正在融雪的狀態、有的僅局部被覆蓋，每顆陶都像有著自己的秘密一般。

| Back end of the left-hand wall after going upstairs & 1F display window |

The wall-mounted artworks on the back left side of the 2nd floor and the abstract artworks in the 1st-floor display window were all created after my trip to the snowy country last year (prior to the "free'eeeee" series). Every day, when I stepped outside, I was greeted by a streetscape covered in foam-like snow, with countless snow sculptures lining the streets (public facilities covered in heavy snow). I sculpted these interesting discoveries into peculiar shapes covered in snow, some in the process of melting, some only partially covered, each pottery piece resembling its own secret.

Landscape of Hokkaido, coil building, 2023. 很喜歡野口勇透過遊戲地景概念，以大地為雕塑，在空間中創作了既是遊具也是作品的遊戲場。非制式、意象化的造型讓兒童自由發揮，透過直覺接觸攀爬，每個人都有著自己與空間獨特的互動。

深受啟發的我將年初的北海道回憶拼貼成腦中地景，紀念每一口為了翻越雪地遇見作品而呼出的興奮氣息。

"Hokkaido Landscape, Coil Building, 2023."

I really admire Noguchi's use of the concept of game landscapes, sculpting the earth into playgrounds that are both play areas and artworks. The unconventional, abstract shapes allow children to play freely, climbing and exploring intuitively. Deeply inspired, I pieced together memories of my trip to Hokkaido earlier this year, creating a mental landscape of my own.