AmphibianＩ 雙棲

Amphibian is a multimedia project representing the confusion and indivisibility of my dual roles as an artist and an arts administrator. This project has been transformed from my on-going performance SUSHI which expresses the difficulty in establishing an identity as a female immigrant in a foreign society. To extend the idea of the identity confusion into my current circumstances, I performed SUSHI in my working environment, a museum, wearing my regular working clothes while space was closed to the public.

The video is shown as the security monitor display with four split screens that also includes the footage documented by the museum surveillance camera. The idea is to express the invisible creative contribution as the supporting admin role. In the photographic installation, there are two images of the SUSHI performances from the Queens Museum (2017) and Union Square (2012) to reveal the contradiction and affinity between the two identities. Those two photography images will be displayed side by side and shown as stereography to allow the brain to fuse the two images and accept them as one solid object. In such a way as an amphibian needs both environments and roles to survive and grow as an individual.

「雙棲」 是結合攝影、裝置、和錄像的複合媒材作品，呈現身兼藝術家與藝術行政的狀態下，對自我身份的混淆，以及其不可分割性。「雙棲」是由2012年的「壽司表演」作品重新發展，將身為女性移民藝術家，對建立自我認同的困難，延伸至身兼創作者和行政工作者的課題上。

作品中攝影結合裝置的部分，是將兩場分別在目前的工作場域-皇后美術館（Queens Museum）以及聯合廣場（Union Station）的壽司表演影像 ，以舊式立體照片和立體鏡(Stereoscop) 的形式並置。利用雙眼立體成像的原理，讓兩個代表不同狀態和身份的影像，透過立體鏡的視差效應，經由大腦視覺皮質綜合後，結合成單一幅立體圖像。藉以表達雙棲動物，透過兩種不同的環境和角色，繁衍和生長成一個完整個體的特性。

作品中的錄像部分， 是利用皇后美術館的監視器內容，以四個分割畫面呈現。觀者在不時切換畫 面的視頻中，可看見休館中的美術館，以及我穿著日常上班的服裝，在無人的美術館中進行「壽司」表演。此錄像表達出幕後行政工作中，許多不被看見的付出以及類似創作的過程，就好似一場場無觀眾的表演，在藝文機構的角落裡不斷發生。

Art Asia Pacific Review by Mimi Wong