身體地景是不安定的、瞬間消逝的一種生活行為，服裝則是持續發生中的序列事件，透過「複製即再現的延伸」的觀念，以各種對應身體的複製方式處理身體。運用材質操作翻轉身體內外，將不透明性轉化為透明性，延續西方古典藝術的「再現」主體意識，運用輔助線與剪裁、縫合線，詮釋身體的原始質感與細緻肌理，藉由身體表面的連續與斷裂討論身體的存在性，借用材質不收整的粗糙邊緣開創新的身體書寫觀點。身體創造材質的制約性，材質形式化身體的被閱讀、被進入、被包覆，討論身體感受的可能性，提出服裝/材質與身體相互形構雙生共體的存在形式，探討身體「再現」後「還原」的辯證關係。

新樂園藝術空間

財團法人國家文化藝術基金會行政贊助

台北市文化局維護贊助

The exhibition discussion focuses on the description of the modern flesh by different tools which vary different ways for records and forms for performance.Technologies generate a new thought of body sensation which is involved in self-awareness, subjective consciousness and business models during the process of operation. Nodaway, body seems to be another language by media which extends a comprehensive manner and sensory perception. And this even constructs a modern aesthetic dialogue about the combinable, substituted or exaggeration body. Being an objective mapped target for observation, a personal body's perspective relies not only on the way it thinks, but also among the senses interaction. Different observers treat their bodies in different ways, leading to an sorted body sense order with independent operating modes. This essay refers to various novel scenarios focused on body senses and body images, in order to clarify the procedure from body objectification to perception system reconstruction, as well as using abstracted body segmentation as a message pipe between body and urban environment.