饒 祗 豪 YOW CHEE HOE
趣趣
自早期「我家的見證物」系列開始，作品即透過家中日常物件的再現與轉化，回應「身分認同」、「鄉愁」與「距離」等議題，並將時間痕跡視為連結個體經驗與文化記憶的重要線索。此一創作脈絡，延續至「家庭風景」系列，逐步由物件本身轉向物與空間之間的關係，將「家」轉化為一種可被觀看與建構的視覺場域，並進一步深化對家庭結構與文化語境的思考 。
然而，在持續反覆檢視「家庭」意義的過程中，創作逐漸進入一種內在張力與自我辯證的狀態。正是在這樣的探索中，藝術家開始意識到：在看似沈重與複雜的文化與身份命題之下，亦潛藏著一段被長期壓抑、卻單純且愉悅的童年經驗。
「趣趣」系列即是在此轉折之下所展開的創作。作品以童年時期的玩具與遊戲為主要題材，並以疊字「趣趣」作為命名，強調一種持續生成中的趣味與感知狀態。相較於早期作品對於記憶與身份的追問，此系列更關注「趣」如何被經驗、被建構，以及如何在觀看中重新被喚起。
由於童年記憶多呈現為片段與碎裂的狀態，創作過程遂結合網路影像的搜尋與再詮釋，將外部取得的視覺資料轉化為個人記憶中的「它」。透過木刻版畫反覆雕刻與油墨層層堆疊的技法，使這些片段逐步被重組，最終構築出一座既屬於個人、亦具有集體共感的「記憶樂園」。
因此，「趣趣」不僅是題材上的轉變，更標誌著創作由「文化與身份的凝視」，轉向「感知與經驗的再生成」，並在輕盈與遊戲性的表層之下，持續回應「家」、「記憶」與「自我」之間的深層關係。
Fun Fun
Beginning with the early Witnesses of My Home series, the artist explored themes of identity, nostalgia, and distance through the representation and transformation of domestic objects. Traces of time embedded in these objects were regarded as crucial links between personal experience and cultural memory. This trajectory continued into the Family View series, where the focus gradually shifted from objects themselves to the relationships between objects and spatial contexts, constructing “home” as a visual field that can be observed, interpreted, and reconfigured.
However, through this continuous reflection on the meaning of “family,” the practice entered a state of inner tension and self-negotiation. Within this process, the artist began to recognize that beneath the weight of cultural and identity-based inquiries lies a layer of childhood experience—simple, joyful, yet long suppressed.
The Fun Fun series emerges from this turning point. Centered on childhood toys and games, the series adopts a reduplicated title, “Fun Fun,” to emphasize an ongoing, process-oriented sense of playfulness. In contrast to earlier works that interrogate memory and identity, this series shifts its attention toward how “fun” is experienced, constructed, and reactivated through perception.
Given that childhood memories often exist as fragmented and discontinuous impressions, the creative process incorporates the collection and reinterpretation of images sourced from the internet. These external references are transformed into subjective reconstructions—“that thing” within personal memory. Through the repetitive carving and layered ink application inherent in reduction woodcut techniques, these fragments are gradually reassembled into a “memory playground” that is both deeply personal and collectively resonant 。
Thus, Fun Fun signifies not merely a shift in subject matter, but a transformation in artistic approach—from a gaze upon culture and identity to a regeneration of perception and experience. Beneath its seemingly light and playful surface, the series continues to engage with the deeper relationships among home, memory, and the self.