2018 湖底田水上考古系列 The Last Farm Boy
2018臺北美術獎(本作品獲得優選,於臺北市立美術館展出)2018 Taipei Art Awards
The member of Walking Grass Agriculture, Hsing-Yu Liu and Han-Sheng Chen, collect and compile in a way approximate to the modernology and typology, trying to ask: ‘Do young people that come from a farm have their own history?’ ‘How should a seemingly uncultured farm boy create art?’ ‘Can handicraft serve as a source, method, or feature of art as opposed to the expression and identification of style?’ ‘Is it possible to create and think art outside of the spectrum of art knowledge and historical consciousness?’
Rooster patterns bowls, unknown fragments, the bridge piers, cemetery statues, seedling trays and the curio boxes form the indescribability of co-existence between memory and history through the craftwork installations, object collections and image configuration. When these honorific plaques-'government is based on farming; for the greater good of farmer; bring benefit to agriculture’-turned into The Last Farm Boy, a part of ‘the story of art’, did they ‘unearth’ their own history and culture
「走路草農/藝團」(Walking Grass Agriculture)成員劉星佑(Hsing-Yu Liu)與陳漢聲(Han-Sheng Chen),以近似考現學與類型學的收藏與編纂,試圖提問:農家子弟有自己的歷史嗎?好像沒有「文化」的農家子弟有創作的資格?相對於風格的創造與辨識,「手路」可不可以成為藝術的起源、方法與特徵?在藝術知識與歷史意識之後,如何創作?如何思考創作?
雞公碗、無名破片、回鄉行經的橋墩、公墓塑像、菜苗盤與多寶格⋯⋯透過工藝裝置、物件採集與影像配置,發散著記憶並形構出「面對無可名狀」時,與歷史共存的當下。當治本於辳、惠澤農民、為辳造福⋯⋯這些匾額,成為「藝術的故事」的一部份時,湖底田的水上考古(The Last Farm Boy),才算是真的「掘」到自己的歷史與文化。