這幅畫源於在印尼萬隆一座日本殖民時期防空洞中的經驗。舞踏使身體經歷不同歷史視角的轉換，也觸及印尼與台灣的歷史重疊。洞中，意識到身體不只是當下的存在，同時佇立於層層地層與多重時間的交織之上；洞穴既是空間，也是歷史的殘影。

舞踏帶著我的身體深入土地，使那些仍被掩埋、尚未浮現的記憶慢慢滲出地表。

隔年再訪印尼，我無意間完成這幅水墨，才發現那正是當時在洞中舞踏時，凹凸的黃土地面浮現出的無數面孔中所見的其中一張臉。

特別感謝Kano 以這幅畫為基底，為我在印尼的放映活動設計了海報。其實自己克服著繪畫焦慮已有很長一段時間，但非常幸運的是在這兩年間重新找到觀看自己與繪畫這項媒材之間關係的角度。

起初完成這幅畫時內心仍充滿著對自己的懷疑，但在看到Kano 的設計成品後真的是有千言萬語說不出口的感動，無論是影像或是繪畫，他總能精準的掌握我想傳達的訊息，就是因為有這樣的朋友，才讓我能在內心擺盪時穩住腳步、相信自己。

謝謝你Kano ! 我瘋狂又美好的印尼哥哥！

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《Face》

This painting originates from an experience in a Japanese colonial-era air-raid shelter in Bandung, Indonesia. Through Butoh, the body undergoes shifts between different historical perspectives, touching upon the overlapping histories of Indonesia and Taiwan. Inside the cave, I became aware that the body is not merely a presence in the present moment, but stands upon layers of geological strata and interwoven timelines; the cave is both a physical space and a residual shadow of history.

Butoh carries my body deep into the الأرض, allowing memories that remain buried and yet to surface to slowly seep through to the ground above.

When I returned to Indonesia the following year, I completed this ink painting almost unintentionally. Only then did I realize that it was one of the many faces I had seen emerging from the uneven yellow earth beneath me while dancing in that cave.

Special thanks to Kano for creating a poster for my screening event in Indonesia based on this painting. I have been overcoming a long period of anxiety around painting, yet over the past two years, I have been fortunate to rediscover a new way of seeing both myself and my relationship with this medium.

When I first completed this work, I was still filled with doubt. But upon seeing Kano’s final design, I was deeply moved beyond words. Whether in image or painting, he always grasps precisely what I wish to convey. It is because of friends like him that I am able to steady myself amidst inner fluctuations and continue to believe in myself.

Thank you, Kanomy crazy &wonderful Indonesian brother.