文/紋 Text/Texture

版畫系列作品「文/紋」是對甲骨文的當代詮釋，以回應移民、女性主義、人的韌性等議題。

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「身」本義是腹部，後來詞義引申，以「有身」借指有孕。兩千年後，人大教授問，如何讓女大學生「老老實實服服貼貼」生孩子。

身，誰的身？被刀劍相逼的我們，也會長出刀劍相抗。

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"Body" originally meant the abdomen, and later its meaning expanded, with "having a body" becoming a euphemism for pregnancy. Two thousand years later, a Chinese scholar asked how to make female obediently and submissively give birth.

My body, who’s body? We, who are threatened by swords, will also grow blades in resistance.

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「因為我們穿著比基尼，卻依舊泡在一片漂著逝者的海域中」（阿莫多瓦威尼斯終身成就獎頒獎詞，致辭人：盧奎西亞·馬特爾），我們需要一個浮動的房間。

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“Because we continue to wet our bikinis in a sea of dead“ (Lucrecia Martel’s speech in honour of Pedro Almodóvar), we need a room that floats.

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翻譯是日復一日的使命，無論是對著我在的地方，還是我來自的地方。有時我把自己團團盤起，覺得自己仍是完整的，試圖忘記還有舌頭。

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Translating myself is a daily mission to both where I am and where I came from. Sometimes I coiled myself up to feel that I am still a whole, trying to forget my tongue.

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“We are the descendants of great women” (my friend Tongzi). “We are the granddaughters of the witches you couldn't burn”(Tish Thawer). We put down the stones and sit around the fire to warm ourselves.

昨天認識的新朋友問我，為什麼做版畫？與寫作有何不同？我說，如果我心裡想說的就是那一句話，甚至一個詞，我沒法用寫作去把它變成一個作品，但用版畫就可以。寫作需要用文字去鋪陳，去打開空間，但版畫可以讓那句話、那個詞本身成為空間。

我不太會刻木頭，基本都是刻膠板；刻的技術也不太好，但我在版畫中依舊感到表達的自由。這與我以前練字的感受是截然相反的——你並不需要等十年再去創造，你可以從第一天就開始創造，用你現有的技術去創造就好。