饒 祗 豪 YOW CHEE HOE
家庭風景
「家庭風景」系列延續自早期「我家的見證物」之創作脈絡。於「我家的見證物」中，藝術家以家中日常物件為主要表現對象，透過其被使用後所留下的痕跡，視之為見證家庭變遷的「眼睛」，藉此回應時間、記憶與個體經驗之間的關係。
相較之下，「家庭風景」則將關注焦點由單一物件，轉向物件與場景之間的關係。創作不再僅停留於物件本體，而是進一步探討其表層視覺與空間情境之交織，逐漸形塑出家中各處可被觀看的「景」。此一轉變，使「家」由記憶的載體，轉化為一種可被建構與再現的視覺場域。
本系列依創作發展可分為三個階段，各階段皆透過構圖與內容的轉變，探討潛藏於家庭日常之中的獨特景觀與文化意涵。
第一階段，以家中習以為常的角落為畫面核心，將其轉化為如舞台般的視覺空間。畫面中器皿與物件不再只是靜態存在，而是與「景」形成對話關係，在若即若離的曖昧氛圍中，呈現出一種低語般的文化共存狀態。
第二階段，進一步強調「物」與「景」之間的相互滲透與融合。場景被置入物件之中，使物件本身轉化為另一種空間與景觀。《雀兒圖》、《鳥兒圖》、《雙魚圖》、《鹿兒圖》與《虎兒圖》等作品，即是在此概念下展開。作品透過刺繡物件上的圖像語彙，結合傳統年畫的構圖與色彩，反覆轉化並建構出新的視覺語言，使作品成為連結傳統文化與當代感知之間的媒介。
第三階段，則以傳統食物作為切入點，回應對生活與文化的理解。透過飲食文化的探討，深入民族性的味覺記憶與生活習慣，並將其內化為關於族群、個體與身分認同的另一種表述方式。此階段亦引入「菜單」的概念，使各種食物不僅作為圖像存在，更各自承載其文化意義與功能，形成一種具系統性的敘事結構。
因此，「家庭風景」不僅是從物件描繪轉向空間建構的過程，更是藝術家在持續追問「家」與「自我」關係之中，逐步深化文化感知的重要階段；亦為後續「趣趣」系列由沈重議題轉向感知與經驗再生成的重要過渡。
Family View
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The Family View series evolves from the earlier Witnesses of My Home series. In Witnesses of My Home, the artist focused on domestic objects, treating the traces of use and time as metaphorical “eyes” that witness the transformations within the household. Through these objects, the works engage with the relationships among time, memory, and personal experience.
In contrast, Family Scenery shifts its focus from individual objects to the relationships between objects and their surrounding environments. The works move beyond the object itself to explore the interplay between surface, perception, and spatial context. Through this transition, “home” is no longer merely a repository of memory, but becomes a visual field that can be constructed, interpreted, and reimagined.
The series can be divided into three developmental stages, each reflecting a transformation in composition and conceptual focus, while uncovering the unique landscapes embedded within everyday domestic life.
The first stage centers on familiar corners of the home, transforming them into stage-like visual settings. Objects and utensils are no longer passive elements; instead, they engage in a subtle dialogue with the “scene.” Through an atmosphere of ambiguity and quiet resonance, the works evoke a sense of cultural coexistence.
The second stage emphasizes the mutual integration of “object” and “view.” Here, view are embedded within objects, allowing objects themselves to become spatial constructs. Works such as Que Er Tu, Niao Er Tu, Shuang Yu Tu, Lu Er Tu, and Hu Er Tu exemplify this approach. Drawing from embroidered imagery and incorporating the composition and color schemes of traditional Chinese New Year prints, these works reconstruct a new visual language. They function as a bridge between traditional cultural forms and contemporary perception.
The final stage introduces traditional food as a conceptual entry point, reflecting the artist’s understanding of life and culture. By engaging with food culture, the works delve into collective taste memory and everyday practices, transforming them into expressions of ethnicity, individuality, and identity. Through the structure of a “menu,” each depicted dish carries its own meaning and function, forming a systematic narrative framework.
Thus, Family View represents not only a shift from object-based representation to spatial construction, but also a crucial phase in the artist’s ongoing inquiry into the relationship between home and self. It serves as a conceptual bridge leading toward the later Fun Fun series, where the focus transitions from weighty cultural inquiries to the regeneration of perception and experience.