大發好載－紙外裝 Daihatsu Hijet－Exteriors
Xuan paper, acrylic color, ink
車前Front: 138 x 175 cm, 車後Back: 136 x 150 cm, 車左Left: 170 x 320 cm, 車右Right: 170 x 320 cm, 車頂Top: 240 x 110 cm (藍、咖啡、墨色三版 Blue, brown, black ink 3 editions）
大發好載－紙零件 Daihatsu Hijet－Parts
Xuan paper, acrylic color,
方向盤37 x 37 cm, 排氣管192 x 20 cm, 大發標誌11 x 8.5 cm, 車牌32 x 15 cm, 鑰匙3 x 6.8 cm
The Daihatsu Hijet left the factory in 1989, is a van that has accompanied me throughout my career in producing creative works. Within the dents and rust holes throughout the car’s surface, a different world has appeared. Between these big and small fractures or cracks, the interconnected traces and overlaps reveals between People and objects. As these pieces of rubbings transform the steel-made car body into feather-light, thin papers, they nostalgically, respectfully, directly and slowly recorded various tableaus and feelings of love, hatred, worry and delight in life.
Rubbing, an ancient technique which originated from China following the invention of paper, is a predecessor of the printing technique. Distinct from other forms of recording, rubbings can directly represent the shapes and textures of different objects, with the exception of its colors. Stone-rubbing, Bronze ware-rubbing in ancient times and the contemporary fish-rubbing are all examples of recording and reproducing objects.
This forsaken car was transferred by a friend of mine in 2004. The cost of repairs to make it function properly actually exceeded the value of the car itself. I was just starting my studies at TNNUA on the same year hence it also marked the beginning of my art life. It would have been impossible for me to travel without transportation due to the amount of bulky materials I need to bring with me. Moreover, I felt a certain destined connection with the car, so I decided to keep it despite the prohibitive fees that went with its purchase.
Therefore, we started our life together thereafter.
Just before graduating, I was working on creating my three-dimensional work to meet the graduation requirements. I even lived in the car for four months in order to finish my thesis. The car became even more indispensable to me afterwards, since I moved north to continue my creative pursuits as an artist. There was one time when I had to drive south in order to prepare installations for one of my exhibitions. The car broke down halfway on the highway. There was nothing I could do but to call the tow truck to haul my car to the exhibition site. As my artworks were being pulled out from my small car that was boarded on the much bigger truck, the scene evoked lots of mixed feelings within me, together with a sense of inexplicable amusement.
As my life slowly got overwhelmed by the different aspects of a busy creative career, I paradoxically overlooked the fact that The Daihatsu Hijet, which I had depended on so much in my career, had accumulated numerous remnants of time such as crashes, bumps, and natural rusts. Hence, I started to consider transforming it into an artwork. Consequently, I signed an agreement with the Suho Memorial Paper Museum to feature the rubbings of the car body as the main theme for this exhibition. Unfortunately, last March, my car was overturned due to a car accident caused by a bus drivers’ inappropriate driving. Ironically, the car accident increased the areas on the car body where rubbings could easily be made.
All these random occurrences have made me aware of life’s irregularity and unpredictability. Yet, they also mark the traces of life. This further justified the intent and motivation of creating rubbing works of the car body on a personal level. As the car’s steel was transformed and reproduced on pieces of paper, all the heaviness in life was also made lighter and colorful at the same time.