藝術家Artist
吳孟真 Wu Mong-jane
藝術家簡介Artist Profile
1978年出生臺北，美國波士頓美術館藝術學校藝術碩士（2012）。她透過創作探討「形式」如何構成認同或普遍的印象，以及其中所隱含的文化與美學價值。使用媒材包含攝影、空間裝置與行為藝術。作品曾在波士頓美術館（2010）和新英格蘭攝影雙年展（2013）等地展出。2014年獲文化部藝術新秀發表獎助，在臺灣展出「可道地」（2015）。2016年參與高雄市立美術館「快拍慢想：編導式攝影的社會光譜」的展出。
Mong-jane Wu
Born in Taipei, Mong-jane Wu studied sociology and architectural history before she completed her MFA at the School of the Museum of Fine Arts, Boston, in 2012. Her work explores ideas of form and formalities, as well as those of cultural and artistic conventions. She incorporates photography, installation, and performance in her practice. Her work has been exhibited at the Museum of Fine Arts, Boston (2010) and the New England Photography Biennial (2013). Recent exhibits include: Pseudo/Mixed Light (Taipei, 2015) and Snap Taking and Slow Thinking: Social Spectrum in the Age of Staged Photography (Kaohsiung Museum of Fine Arts, 2016).
創作論述Work Text
日畦
〈日畦〉是一組回應臺南夏日熾烈的陽光，以及麻豆與鄰近區域的田園地景而做的戶外影像裝置作品。在強光下拍攝的照片，經常會因為反差過大而使部分內容無法顯現。作品的影像內容正是在田野當中利用此一光線條件所拍下的果樹與植栽。裝置的形式設計是藝術家對農村既開闊又隱蔽的景觀特質所做的詮釋，再進一步運用帆布材質本身可反映當地光照變化的特性，表現「見」與「不可見」的觀看經驗。
越界
每年在水果漸熟待採的月份裡，臺灣南部果園周邊隨處可見果實翻牆在外的景象，令人垂涎，卻不得摘取。藝術家在臺南麻豆與鄰近地區，拍攝一系列水果跨越藩籬的照片後，再對影像加以「介入」的行為，最後製成〈越界〉此組雙聯畫，透過不同屬性的「踰越」，點出相對應之「界線」的意義。
Sol
Sol is an outdoor installation that is a response to the quality of sunlight during the summer months in southern Taiwan. The images on the canvases accentuate a common predicament of photographing under bright light—the camera only captures parts of the subject that is being photographed. Similarly, the brightness often prevents the human eye to fully perceive its surroundings. The form of the installation draws inspiration from the open and yet concealed landscapes of rural Tainan. On site, the sunlight interacts with the installation and reveals the images on the canvases to different degrees.
Boundaries
Just before harvest season, on the streets along privately owned orchards in Madou, Tainan, one sees fruits hanging over fences and walls that mark the border between private and public territories. According to the law, the fruits are private property so long as they remain on the trees. In Boundaries, the artist performs an intervention on images that depict “trespassing fruits” and creates a diptych that mingles physical boundaries with boundaries of the photographic medium.