Yang Chi-Chuan | 楊季涓

√YANG, CHI-CHUAN2017, Sound Installation 7 Hours, Lightbox, Curtain, Painting, Plants,Ready Made, Various Dimensions _______________

Specimen 2014, , Oil Painting, Metal, Wool, Ready Made, Clay, Print. Various Dimensions _______________

What a Wonderful World2016, Sound Installation Papers, Bamboo, Various Dimensions _______________

The Rhythm Inside 2021, 4 channels Sound Installation(25 min), Crayon on the paper _______________

Picturing the Stories You Have Told Me 2018, Stereo, Story telling 30 mins , Crayon and Sharpie on the paper, Dimensions Variable _______________

Black Dunes 2021, Black sand, Ceramic, Underglaze Color, Color powder, Dimensions Variable _______________

Nine Lines 2018, Wood, Rubber, Metal, Ready Made, Dimensions Variable _______________

Essays: a Platfrom2017, Surround Sound, Story telling 3 hours 30 mins, Pebble Dash, Various Dimensions _______________

Plastonki 2020, Audio recording (20 min), Ceramic, Sand, Dimensions Variable _______________

Have a Good Day2017, Sound Installation, Story telling 5 hours, Pebble Dash, Various Dimensions _______________

Dream 2019, Stereo, Story telling 12 mins, Dimensions Variable _______________

Essays During the Night2017, Stereo, Story telling 7 Hours, Curtain, Painting on the Carpet, Various Dimensions _______________

Foggy Mountain 2022, Guan-yin stone , Textured stone, Medical stone, Volcanic rock, Artificial stone, Organic compounds extracted from plants, Atomizer, Dimensions Variable _______________

Two Houses of Sixty Years Old2018, Stereo, Story telling 40 mins, Terrazzo, Various Dimensions _______________

Things turn into stones, stones turn into sand 2020, Artificial Stone, Sand, Artificial Stone, Sand, Ceramic, Pottery, Large: 160 x 100 x 65 cm, Middle: 90 x 70 x 50 cm, Small: 85 x 70 x 25 cm _______________

Tick-Tock2017, Sound Installation 8hours , Line, Sofa, Wall Paper, Ready made Various Dimensions _______________

Small House 2021, 10-channel sound installation, Dimensions Variable _______________

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Things turn into stones, stones turn into sand 2020, Artificial Stone, Sand, Artificial Stone, Sand, Ceramic, Pottery, Large: 160 x 100 x 65 cm, Middle: 90 x 70 x 50 cm, Small: 85 x 70 x 25 cm

Things turn into stones, stones turn into sand is a combination of the natural and artificial remains on seashores, such as tools, plastics, stones, shells, corals, branches, bones deformed by coastal erosion, or their mixtures. These colourful objects are scattered on the sand, like toys forgotten in sand dunes made by children. Its naming also implies two directions: Things turn into stones means unnatural change, and the point that the material produced by humans affects the appearance of native geology, producing a different type or combination of geology from the past; Stones turn into sand is a natural change of time and material, and it gradually grows into a landscape. Things turn into stones, stones turn into sand is a new natural system that is interwoven between these two reasonable and irrational systems. 「東西變石頭，石頭變成沙」疊合了海岸邊的自然與人為痕跡，透過手捏陶，製作出一些經由海岸沖刷後形變的器具、塑料、磚瓦、貝殼、珊瑚、樹枝、或是其結合物...等等，這些色彩斑斕的物件散落於海砂中，也看似如同孩童遊戲沙坑裡未收拾即離去的一地玩具。其命名亦隱含著兩個指向：東西變石頭意即非理所當然的變化，指向人類生產的物質影響原生地質的樣貌，產生了不同以往的地質型態或結合物；石頭變成沙則是時間與物質理所當然的變化，逐漸消長而成的地貌景觀。「東西變石頭，石頭變成沙」即交織於這兩種合理與不合理的系統之間，結合而成的一個新自然系統。

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Yang Chi-Chuan (b. 1985) explores memory as a source of knowledge and agent to mediate relations among people, places, objects and events, giving it material or immaterial form to carry her sensitivity and narratives. Yang often employs storytelling to create a warm duration in her sculpture or installation that embodies a subtle access to a wide range of questions in life, around family, politics, urban environment and various cultural fabrics. 楊季涓1985年出生於台北，現居住工作於台北，楊季涓將記憶做為知識來源與媒介，探索在人們、地方、物件、事件之間的種種關係，賦予物質或非物質的形式來載動其感性和敘事表達。她經常採用說故事的方式在她的雕塑或空間裝置裡，創造出一種溫暖質地的時間量體、一個輕巧的入口，穿透展開在生活、家庭、政治、都市環境、文化肌理等各種向度的問題。

Dream 2019, Stereo, Story telling 12 mins, Dimensions Variable Installation view of the exhibition of “Extreme Mix - Guangzhou Airport Biennale “, Guangzhou, China 2018

The work Dream is about reflections on the land, people, memories and urban developments developed from a simple village life of street, houses, people and animals in the Fenghe Village. Due to the technological progress and social and economic shifts, the environment is constantly changing in one’s growth. The artist takes the constantly-changing environment as content. Via personification, chickens running around small alleys and houses become the objects of a fairytale- like short story, a fable. After all, behind the story, it lightly brings out an undertake that in our surroundings, the sceneries and animals which are incapable of speech always reflects a human sensibility. 作品《Dream》是於位處在廣州鳳和村的空港雙年展發展而出的寓言故事作品，以在當地所見到的純樸街道、屋舍之間的人與動物所衍伸出對於土地、人、記憶、以及城市發展的諸多反思。並以自己成長過程中因為科技進步、社會經濟狀況的變動，環境樣貌的改變為內容，再經過擬人化的方式，以小巷、屋子間四處走跳的雞為對象，譜寫一段富有童話想像與寓言的短篇故事。而在故事的背後，也輕描淡寫地帶出了我們身處的環境中，那些無法言語的風景與動物，始終樸實的反應了人的感性。

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Picturing the Stories You Have Told Me 2018, Stereo, Story telling 30 mins , Crayon and Sharpie on the paper, Dimensions Variable Installation view of the exhibition of “Condition”, Art Sanya Huayu Youth Award, Hainan Island, China 2018

Picturing the stories you have told me is a piece of work about Sanya extending from earlier Essays series of works. It describes the journey that the artist’s grandmother accompanied her grandfather, moving all the way from Qingdao to Hainan in China before their settlement in Taichung, Taiwan. A story of imagination and the fight for life reconstructs from the memory of the short stay in the harbor, Yulin Gang. Thoughts of life and of the passing of things is murmured in the story with a deep affection for her grandmother. 《那些妳曾經說過的事》，是由短篇集系列延伸出與三亞相關的作品。內容描述自己的奶奶跟隨著爺爺定居於台灣的台中之前，一路從青島到海南島，曾經短暫在榆林港生活的回憶，藉著那些零星的片段口述，重整出一段包含想像與生命奮鬥的故事，再經由對奶奶的深厚情感，以輕巧絮語推展出對於生命以及逝去的種種想法。

Nine Lines 2018, Wood, Rubber, Metal, Ready Made, Dimensions Variable Installation view of the exhibition of “Reality | Undercurrent”, TKG+ Projects, Taipei, Taiwan, 2018

The work Nine Lines derives from the overhead power lines in the alley near where she lives, and it begins with the scene of utility poles standing in the bustling streets. Through displaying a mix of old and new objects, such as the endless black power lines, along with the speakers, surveillance cameras, distribution boards clinging to the pole, the flyers posted on it, and even the multiple unidentifiable bracket and cables, yet all of which seem awkward, Yang creates a narrative that consists of shapes and tries to disclose possible poetic aesthetic and the tranquillity hidden in this seemingly chaotic scene, subtly reflecting the many nondescript things in modern life. 《九條線》構想來自於住家周邊小巷子裡高掛空中的電纜線景緻，以電線桿佇立在喧囂街頭的姿態為開端，藉著看不見盡頭的黑色電纜線以及攀附在電線桿上頭那些看似突兀的擴音喇叭、監視器、配電箱、廣告紙張，甚至是許許多多無法辨識的支架、繩索.....等等新舊交雜之物，推展出作品造型的敘事狀態，經由看似混亂的風景，梳理出藏於其中可能的詩意悠慢，並且隱隱反映出現代生活中的種種無法言說。

Nine Lines 2018, Wood, Rubber, Metal, Ready Made, Dimensions Variable Installation view of the exhibition of “Reality | Undercurrent”, TKG+ Projects, Taipei, Taiwan, 2018

Two Houses of Sixty Years Old 2018, Stereo, Story telling 40 mins, Terrazzo, Dimensions Variable Installation view of the exhibition of “Limited by Words”, Crane Gallery, Kaohsiung, Taiwan, 2018

Taking a continued artistic expression from recent writing and sound installation, Two Houses of Sixty Years Old is inspired by the old and stylish interior design of the gallery space. Daylight sheds from the windows and shades the space, the curves, the exquisite decorations in between the columns and the ceiling. A recall of renovations of the artist’s own house. When the artist writes down the process of restoring the old house, nostalgia and sentiments over the lifeless matters are murmured and stack layers of discourses and speculation about life in the heart. 《兩間六十年的房子》，延續了近期關於文字書寫與聲音裝置的創作手法。內容構想來自於畫廊空間裡別具有年代感的線條與設計——藉由空間裡的窗光、日影與天花板、樑柱間講究的起伏修飾，輾轉連結到與自家房子的修繕回憶，再透過書寫那一段整修老房子的過程，娓娓道出對於懷舊、或是對於看似無生命之物的各種難以割捨情懷，堆疊出淺藏在心底裡的那些絮語式生命思辨。

Essays: a Platfrom 2017, Surround Sound, Story telling 3 hours 30 mins, Pebble Dash, Dimensions Variable Installation view of the exhibition of “2017 Taipei Art Award”, Taipei, Taiwan, 2017

In Essay’s: A Platform, Yang has created a set on location in the exhibition with polished gravel platforms that are common used on the streets of Taiwan, presenting a staircase, platform, slide in public sphere providing a place for people to pause and take a break or an transition a space for people to quickly pass by. On the other hand, murmurs of reading sounds are scattered and hidden in the pipes, manhole covers, or lights installed at the corner. The murmurings are chapters categorizing descriptions of the public (space) from the recent years contained in the memory databank. Through different settings in each chapter, through twisting and turning scenarios, ultimately, a return is made back to personal emotional experiences in life, traversing back-and-forth between public and private spheres. 在《短篇集：石子臺》中，楊季涓使用常見於台灣街道的抿石子平台作為展覽現場的造型工具，它展示了公共空間的階梯、平台、滑坡到，提供駐足休憩，亦快步經過的中介空間，而設置在牆角的水管、水溝蓋、誘惑登記當中，散佈隱密其中的綿延朗讀聲，藉由一篇又一篇的呢喃，歸納進男記憶資料庫針對公共（空間）的描繪，於不同篇章的場景、情境流轉，最終又回到個人感性的生命經驗，往返交織於公共與私密之間。

Essays: a Platfrom 2017, Surround Sound, Story telling 3 hours 30 mins, Pebble Dash, Dimensions Variable Installation view of the exhibition of “2017 Taipei Art Award”, Taipei, Taiwan, 2017

Have a Good Day 2017, Sound Installation, Story telling 5 hours, Pebble Dash, Dimensions Variable Installation view of the exhibition of “Have a Good Day”, Taipei Artist Village, Taipei, Taiwan, 2017

Yang Chi-Chuan’s recent works portray the viewers’ own similar situations and activate memories regarding time, space, and other personal experiences through extensive whispers. The majority of her work is based on the database of her memories, which are broadcast on site through writing and reciting. The contents generally involve family, politics, animals, food, and other compound systems of humanity. The viewers only know part of the long broadcast. Just like a huge database, it can only be output without being compressed. The initial inspiration for her creation comes from her reflections on the comfortable life during her five-week stay in Singapore in early 2016. Combined with slow, relaxing, and anxious emotions, the experience indirectly became her method of creation. After successively releasing works regarding style and reciting in Singapore, Hong Kong, and Taiwan, Yang published Have a Good Day. Named after the idiom she used to describe her day in her childhood diary, this work aims to open the window of imagination through descriptions of the weather. It places the common and ordinary experiences and feelings of daily life among descriptions that are seemingly wonderful but do not show any emotion. Through audio and visual construction, those common feelings implicitly accumulate the dark sides of anxiety of normal self-response. The depiction established in public (spaces) repetitively constructs the appearance of common life through different chapters. In the end, the work returns to personal perceptual life experience, going back and forth between the public and private spheres. 楊季涓近年的創作，透過個人式的綿延呢喃，渲染觀者自身的相似場境，激活關於時間、空間與事物的記憶。她的記憶資料庫即為創作軀幹，透過書寫與朗讀播送於現場，內容廣泛涉及於家庭、政治、動物、食物等人文科學複式範疇，冗長的放送讓觀眾僅能從中略知篇章，如同龐大的資料庫得以輸出卻無法壓縮。而創作的最初源頭，是來自於2016年初在新加坡生活五個星期之間，對於生活的安逸舒適引發各方面省思，綜合了悠慢閒適與焦慮的情緒狀態，輾轉生成的創作方式。於新加坡、香港與台灣接續發表相關於造型與朗讀的創作後，《短篇集：風和日麗》，以童年日記中慣用描述一天的成語為名，試著由形容天氣的語句開啟想像的窗口，將日常生活中清淡如水、俯身即可以拾得的經驗和感受，擺放至一個看似美好卻情緒極為中性的描述。在聽覺及視覺的建構下，那些彷彿信手而來的感受卻在平實的自我解答中，堆疊出隱藏焦慮的暗潮洶湧，而這些建立在公共（空間）的描繪，反覆以不同篇章建構出普遍生活的樣貌，最終又回到個人感性的生命經驗，往返交織於公共與私密之間。

Tick-Tock 2017, Sound Installation 8hours , Line, Sofa, Wall Paper, Ready made, Dimensions Variable Installation view of the exhibition of “Tick-Tock”, Things That Can Happen, Hong Kong, 2017

“Tick-Tock-Tick-Tock” - the sound from the clock brings out the relation in which time resides in space; the discrepancies between each event are the causes and associations created by men, formed when time continues its forward motion. In the pretext of time in terms of the forward movement of seconds and minutes, in an exhibition, one can briefly distinguish between “works about people” and “works about space”. Drawing from my previous experience, it becomes necessary for me to respond quickly to this space and create a kind of manifestation. Put simply, time in space is shaped by people collectively into a certain form; yet for Hong Kong where space is limited, it is also inseparable from economics. About peopleThe artists who have worked with Things usually leave behind some traces in the space, ranging from the screw holes on the walls, to cracks on the floor tiles. These I work on and extend, conferring upon them some new narratives, such as the broken door and floor tiles by Ocean Leung in his show last year, or the wall painting by Devora Neumark. These existences tell the time process experienced by Things this past year. About spaceAlthough after the previous Hong Kong experiences, I have got used to the crowds and feel less uncomfortable, the high living expenses and unbelieveable property prices still baffle me. I watch the neighbours of Things in Sham Shui Po, mostly imported workers, in twos or threes inside their tiny rooms, on bunk beds or mattresses strewn on the floor. Every morning, I hear them get up for work, and at 10:30pm, their footsteps on the staircase back home. Such is the most realistic image of us, living within the crowded cracks of life. 在“Tick-Tock-Tick-Tock”的時針擺動聲響之下，牽引出了，時間存在於空間當中的關係，其中每個事件的差異，是在時間持續向前滾動的那時，因為“人”而產生出的變因和關聯。在時間的分分秒秒前進為前提之下，展覽中，可以很大致的把作品區分為”關於人“還有”關於空間“兩種，連帶地透我的過去經驗，又或者這次必須快速在這裡反應出一個切合空間的狀態，來做出呈現。簡單來說，時間在空間中，由人們共同塑造而成一個模樣；然而，對於寸土寸金的香港來說，空間，卻也與經濟學有著無法切割開的關連。與things合作過的藝術家，大多數都會在空間中留下一些痕跡，小至牆壁的螺絲洞孔，大至地板的裂痕，我在展場中延續使用、甚至是給予這些痕跡一些新的敘述，譬如由藝術家梁御東於去年展覽中產生的破裂木板門以及地板；又或者是由Devora Neumark所繪製於牆面上的壁畫，這些存在，都在在講述things這一年多以來的時間過程。關於人與things合作過的藝術家，大多數都會在空間中留下一些痕跡，小至牆壁的螺絲洞孔，大至地板的裂痕，我在展場中延續使用、甚至是給予這些痕跡一些新的敘述，譬如由藝術家梁御東於去年展覽中產生的破裂木板門以及地板；又或者是由Devora Neumark所繪製於牆面上的壁畫，這些存在，都在在講述things這一年多以來的時間過程。關於空間經過先前幾次的香港旅遊經驗，我雖然已經習慣人潮還有擁擠，不再像是最初那樣難受，但是，對於昂貴的生活費用，甚至是難以想像的房地產價格，我光是想就不禁頭大。我看著在深水埗這區things的鄰居，他們大多都是移工，在一間小房間裡頭，架起高腳床，或許地上再鋪幾個墊子，就可以住上兩三個人，每天早上，我聽著他們起床上班的聲音；到了夜晚十點半，再聽著他們走上樓梯要回家的腳步聲，這是我們每一個人生活在擁擠夾縫中，最真實的樣貌。

Essays During the Night 2017, Stereo, Story telling 7 Hours, Curtain, Painting on the Carpet, Dimensions Variable Installation view of the exhibition of “Essays During the Night”, Juming Museum, Taipei, Taiwan, 2017

During moments when concrete reasoning can’t be articulated, certain scenes from the past would come to me. Perhaps due to the overlapping of the scenes, a similarity is sensed between the ambiance at hand and the incident recalled, which could even be an unidentifiable source of light or a scent. Amusingly, this nostalgia stemming from memories often only requires a very brief moment of less than a second to spark tremendous emotions or impact the mind, drawing me in to uncontrollably search within my head, with images from the past flashing by. I then gradually realized that a very clear time axis exists in these seemingly very personal murmurings. It could perhaps be chronicled according to my years of age, precise and vivid like an organized photo album. It could also certainly be an event book arranged not according to time but in accordance to how the incidents associate with each other. I’ve categorized this art series according to the 24 hours in a day: The daytime is filled with life’s hustles and bustles, consisting of feelings extended from streetscapes and crowds. The night slowly becomes serene and also calls upon the experiences or imaginations that I have in life, which are related to the world’s elusive and realistic sides. Essays During the Night has selected 7 hours at night from the 24 hours in a day; for example, most people are probably asleep at 1:00am; although I was about to go to bed at that time, the time also corresponded with a different situation that I was in about a year ago – it is something that has stayed deep in my mind since then, a sense of anxiety and melancholy towards the world. At 4:00am, I had fallen into deep slumber, but by actually dissecting the time, I have also experienced countless painful yet also amusing experiences with insomnia during this time. By writing down these dream-like situations with incomplete but emotionally rich images, I’ve then recorded the words into sound, resulting in something that resembles sceneries that endlessly echoed in my mind. They are transformed into language and then into illustrations, as I seek to use time to connect the incidents. As I sort through the murmuring thoughts from 10:00pm to 5:00am, the connection between the world and me is also examined. 在很多說不出具體原因的時刻，我會想起一些過往場景。可能是場景的重疊，讓當下氣氛和記憶中的事件有著極為相似的狀況，又甚至是無以名狀的光線或者味道，神奇的是，這一股從記憶中襲來的懷舊，往往只需要不到半秒的瞬間，就可以牽連起龐大的感受、觸動腦袋，讓我無可自拔地，在腦海裡翻找、播放著過去的畫面。後來我漸漸發現，這些看似相當個人的呢喃，其實有著很清晰的時間軸線，或許可以是按照成長年紀做編排，就像是一本排整過的相本那樣清楚而生動；當然，也可以按照事件發生的關聯，做出跳躍式的事件簿。我在這個系列作又在品裡，以一天24小時做為分類：白天有著忙碌生活感的熱鬧，充斥著街頭景緻、人群延伸出的感觸；而到了夜晚，漸漸走向寧靜，也相對喚起了自己在生活中，關於世界虛實面的經驗又或者想像。《短篇集：從夜晚10點到清晨5點 Essays during the night》，篩選了24小時中的夜晚7個小時，以半夜1點來說，大部份的人都進入休息時段，當下的我雖然正準備就寢，但是在時間的對應點上，卻同時並存著——深藏於腦海中揮之不去，一年多以前身處在不同情境下，那股對世界的憂慮感；又或者是夜晚4點，正在熟睡的我，實際上在時間切片下，體驗過無數痛苦、卻也奇妙的失眠經驗。在書寫下這些像是夢境一般，不完整卻情感濃厚的畫面之後，我將文字錄製成為聲音，就像是腦海中不斷迴盪的景象，被轉化為語言，再化為插圖，嘗試以時間之於事件的關聯，統整出夜晚10點到清晨5點呢喃式的思緒中，世界與我的關聯。

√YANG, CHI-CHUAN 2017, Sound Installation 7 Hours, Lightbox, Curtain, Painting, Plants,Ready Made, Dimensions Variable Installation view of the exhibition of “√YANG, CHI-CHUAN”, Radicalsign, Taipei, Taiwan, 2017

What a Wonderful World 2016, Sound Installation Papers, Bamboo, Dimensions Variable Installation view of the exhibition of “What a Wonderful World”, Grey Project, Singapore, 2016

Specimen 2014, Wax, Oil Painting, Metal, Ready Made, Clay, Print, Various Dimensions (Installation view, in the exhibition of , Nanhai Gallery, Taipei, Taiwan, 2014)

Specimen 2014, Wax, Oil Painting, Metal, Ready Made, Clay, Print, Various Dimensions(Installation view, in the exhibition of , Nanhai Gallery, Taipei, Taiwan, 2014)

Plastonki 2020, Audio recording (20 min), Ceramic, Sand, Dimensions Variable Installation view of the exhibition of “Plastonki “, Künstlerhaus Bethanien, Berlin, Germany, 2020

This exhibition, from the framework of biology and geology, and from anthropomorphic and non-human perspectives, attempts to narrate the changes revolving around natural and artificial objects or materials , introducing a portmanteau word “Plastonki” which represents not just petrochemical industry products, but also, in the exhibition text, the name of a new species, to trace the natural cycles of life and the spirit of ancient beliefs. The exhibition “Plastonki” consists of a recorded narration and handcrafted clay. The recorded narration begins with a scientific introduction, combined with anthropomorphic fables, alternating between knowledge and satire, illustrating various living organisms: fishes, seaweeds, corals, beaches, stones etc., their transformations in the ecological cycle and the causes of natural landscapes. In the story, Plastonki, synonym of the product of modernisation, its sudden and mysterious existence manoeuvers ambiguously between Nature, myth and belief. One can say that “Plastonki” is the synonym of modern petrochemical products, or it can also be the fantastical being hidden in the mass, silent and ghostlike. Through the exhibition, searching in between natural and artificial, rational and irrational, for a gradually forming new natural system as a starting point, one lays out the scientific narration, fictionalised, of the cycle of evolution, mutation, and subsequent regeneration of living things, and poses this question: Whether, compared to the scientific inquiries into natural processes, it is more difficult to understand and analyse our belief in, or consciousness of our life experiences. 展覽試著從生物學與地質學架構下引述，以擬人與非人類的觀點迴繞於自然物與人造物的變異，並以自創的組合字 —— Plastonki為名，除了代表著石化工業產物，也在展覽文本中扮演新物種名稱，以此推敲自然生物循環及遠古信仰的精神。展覽「Plastonki」透過口述聲響與手作陶土構成。口述聲響以科學論述做為引言，結合擬人化的寓言故事，圍繞於知識與反諷之間，並藉此故事描繪出各式生物：魚、海藻、珊瑚，直至沙灘、石頭....等等在生態循環下的變異樣貌與自然地景的成因；而文本中，現代化產物的替身Plastonki，它突兀又離奇的生世，曖昧遊走於自然、神話與信仰之間。我們可以說「Plastonki」既是現代石化產物的匿名，也是隱藏在群體間狀似無語幽靈般的魅惑角色。藉著展覽中，在自然與人為、合理與不合理之間，尋找逐漸生成的新自然系統作為開端，將生物的演進、變異，接著而成的再生.....等等循環，科普式論述及故事化鋪陳後，實則深切探問著：人們對生命經驗的信仰或意識，是否比起科學探究的自然進程更難以被理解分析？

Plastonki 2020, Audio recording (20 min), Ceramic, Sand, Dimensions Variable Installation view of the exhibition of “Plastonki “, Künstlerhaus Bethanien, Berlin, Germany, 2020

The Rhythm Inside 2021, 4 channels Sound Installation(25 min), Crayon on the paper Installation view of the exhibition of “Detour”,Taipei Artist Village, Taipei, Taiwan, 2021

Yang’s recent works have been gradually veering from personal memories to a fable framework and evolving toward imaginations of a collective and surroundings. The Rhythm Inside derives from Yang’s experience of choir and is in collaboration with the Choir and the director from Taipei Municipal Heping Senior High School. A back-and-forth correction during the practice runs through the work along with a narrator who sometimes partakes in the narrative and sometimes withdraws from it. In this way, on the one hand, the relationships between an individual and a collective are fictionalized. On the other hand, a choir is viewed as a social microcosm. Ode to Bozung, the Hakka song performed by the Choir, manifests a nostalgia for nation or collective event commonly found in a Taiwanese folk song. Its lyrics and composition develop into melodious and stimulating tunes. At the moment, the Yimin spirit of an era built with a sense of melodiousness and resonates to the collective awareness and identity which are metaphorized in The Rhythm Inside. 楊季涓近年的創作，逐漸由個人化的記憶事件轉向寓言式架構，內容擴展至更貼近環境與群體的想像。《每個人的身體裡都有一段旋律》是由過去參與合唱團的經驗轉化而來，並邀請和平高中和樂合唱團及指導老師共同錄製完成。作品以合唱團員練唱過程中被指揮反覆糾正的過程，搭配上旁白時而參與其中，時而又跳脫情境的敘事，將個人與群體的關係寓言式的呈現，並將合唱團隱喻為社會縮影。其中合唱團員所演唱的客家歌曲「褒忠讚歌」，顯現台灣民謠中常見對於故鄉情感或集體事件的情懷，藉由詞、曲人創作出時而柔美時而激昂的旋律，以音樂性構築的大時代義民精神，亦與《每個人的身體裡都有一段旋律》中，所隱喻、欲呈現的群體意識及認同從何而來相呼應。

Foggy Mountain 2022, Guan-yin stone , Textured stone, Medical stone, Volcanic rock, Artificial stone, Organic compounds extracted from plants, Atomizer, Dimensions Variable

The inspiration of creation is the landscape of fog shrouded mountaintops in Taiwan’s mountainous region. The vapor and fog in the mountainous area formed by level and temperature is vital resources to nourish the forest biodiversity. Taking a further imagination on the personal relationship between us and the visible fog and invisible air, the artwork relates the fog and the odor to human breathing cycle and environment. Through stone-carving, the work Foggy Mountain, a garden-like landscape similar to an imitation of nature is created among the stones’ natural appearances and man-made cuts. Various smells generated are diffused in the mist over the stone-made landscape. The overall shape is as a miniature of a mountain landscape as well as a special machine which breathes out environmental odors. When reflecting on the cause-and-effect of our daily life, the imitated landscape Foggy Mountain shows both rationalness of science and sensibility; whether the air flow and environmental circulation driven by human activities and nature, or whether the beautiful scenery to our sensations. The imitation of nature, water, fog suggesting the daily circulation inside and outside our bodies is simultaneously hidden in the fairyland-like foggy landscape, environmental odors and healing effects. 以台灣山區霧氣籠罩山頭景象做為創作的根源。山區因地勢與溫度所形成的水氣與霧氣，是滋養山林間生態多樣的重要資源，以此景觀進一步想像——這些可見的霧與不可見的空氣在環境中和我們的切身關係，並以霧氣以及氣味連結至人體內的呼吸循環與環境的關聯。《山雨霧》造型上以石材進行切割，在石材原貌與加工的切痕之間，製造出類似庭園造景的仿自然景致，再結合上以霧擴散出的各式氣味在石頭造景之間隨空氣蔓延，整體造型既像是微型的山區景觀，也是一座座吐納環境氣味的特殊機器。在這仿造的景觀中，《山雨霧》思考我們日常生活環境生成的因果，呈現了無論在理性科學中，因自然與人類活動帶動的氣流、環境循環，亦或是感性上在如仙境般的霧氣景觀、環境氣味與療癒作用間，美麗的景色之於我們的感官關係，以仿造的自然、水、霧氣同時展示日常身體內外的循環。

Small House 2021, 10-channel sound installation, Dimensions Variable Installation view of the exhibition of “Housing Things”, Yo-Chang Art Museum, New Taipei City, Taiwan, 2021

Referring to moulds and patches found in the room, the artist took the house’s smell and sound as its soul and mind, reincarnating them into the house’s memory and perception. Working with a sound engineer to collect, design, and mix different kinds of sounds together, the artist then had at hands sounds of people touching things, yawning, sighing, and saying simple words and sentences, or sounds from nature. Eventually, the artist created a multi-channel audio installation which “sprinkles” those sounds on the house’s ground and imitates its pulses and feelings in a ghostly way. Sound Collector, Mixed and Acoustic Design: CHEN J-H｜Voice Actor: LIN Wei Chih｜Equipment cooperator: Roger Hsu｜Technical Coordination: l’atelier muxuan 由屋內的霉與斑剝做為擬人化想像的參考，將氣味及聲音假想為屋子的靈魂和意識，展現小房子本身的記憶與知覺。透過與聲音工程師合作，共同設計及採集多種聲音後混音製作而成，從人發出的極輕微觸摸聲、呵欠、嘆息聲、或簡單字句，到自然界的各式聲響，最後以多聲道環繞式呈現聲音的跳動和灑落，鬼魅般地擬人化房子的脈動和思緒。聲音採集、混音及音場設計:陳珍惠 | 聲音表演:林㵟芝 | 器材協力:許克瑋 | 展場技術:牧晅

Black Dunes 2021, Black sand, Ceramic, Underglaze Color, Color powder, Dimensions Variable Installation view of the exhibition of “Housing Things”, Yo-Chang Art Museum, New Taipei City, Taiwan, 2021

Starting from the view of the old buildings surrounding the exhibition venues, the artist imagined how living in the narrow lanes and alleyways was like in the past, and reproduced a state of construction, renovation, and rebuilding with the use of black sand; the strewn garbage and daily necessities inadvertently left in the lanes and alleyways are reproduced bearing the traces of time with hand-made clay. Black Dunes resembles an illustration in a children's book, with each item representing what will eventually be forgotten, while this work also silently tells the story of the people and things that have once lived there. 由展場周遭的老舊建築景緻為起點，想像過往巷弄居所與生活，透過黑色建築用沙為基底，重現建築施作、整修或再搭建的施作狀態;巷弄間不經意被遺留的垃圾或生活用品，則以手作陶土再現時光在物件的痕跡。《黑色沙丘》狀似童書內的插圖，每一樣物品代表著每一件被漸漸淡忘的事，也以無聲的姿態訴說曾經生活在這裡的人和事。