關於書寫

纖維作為語言：從《Text》到《Textile》，我思考著要如何起頭。

Fiber as Language: From Text to Textile, I am thinking about how to begin.

「Textile」一詞，源自拉丁文 textus，原意是「編織」、「結構」。它與「Text」：文本、書寫有著共同的語根。

織與書，原本就是同一件事。

或許古怪的一點，身為視覺創作者（visual artist）

所有腦內的抽絲剝繭往往不是由畫面開始，而是文字—— 以一段書寫記錄著抽象。

對於文字（語言），我有難以言喻的著迷與執念。

在古老文明及語言裡，編織是一種說故事的方式，線是語句、結構是文法。

而對我來說，纖維就是身體與手的語言，是一種將情感與思想，翻譯到空間與時間中的勞動實踐。

我將這個書寫空間，分為三個方向：「信、雅、達」

這來自中國近代思想家嚴復的翻譯理論：

• 「信」（faithfulness）指意義不悖原文，即是譯文要準確，不偏離，不遺漏，也不要隨意增減意思；

• 「雅」（elegance）則指譯文時選用的詞語要得體，追求文章本身的古雅，簡明優雅；

• 「達」（expressiveness）指不拘泥於原文形式，譯文通順明白。

  
  

我企圖挪用這三個字，也作為我——纖維創作者的三種外象分類：

-「信」是忠於本心，是創作之中無可動搖的核心。

在這裡，我會談我的信念、價值觀、精神追尋，以及那些推動我繼續創作的無聲力量。

-「雅」是生活的吉光片羽，是氣質與感性的持續書寫。

記錄旅程、風景、閱讀與片刻的光線，讓「活著」這件事本身，也成為創作的一部分。

-「達」是技藝的實踐，是纖維工序的流通與傳遞。

我會分享製作的經驗、創作筆記、媒材探索與工藝技術，讓知識得以傳遞、對話得以發生。

「Textile = Text」與「信雅達」的翻譯理論結合纖維創作，這一類層次性的敘事方式，為的是呼應纖維藝術「可讀」、「可譯」、「可感」的多重性。又更進一步來說，這三者，不是分類，更像是織布時的經緯。

單為平行線，但結構交會處卻蘊藏著無限的激發與想像的可能性。

The term "Textile" originates from the Latin word textus, meaning "weaving" or "structure." It shares the same root as "Text," referring to written words.

Weaving and writing were originally the same thing.

Perhaps strangely, as a visual artist, the unraveling of thoughts in my mind often doesn't begin with images but with words—recording abstractions through writing.

I have an indescribable fascination and obsession with words (language).

In ancient civilizations and languages, weaving was a way of telling stories, where threads represented sentences, and structure represented grammar.

For me, fiber is the language of the body and hands, a labor practice that translates emotions and thoughts into space and time.

I divide this written space into three directions: "Faithfulness, Elegance, Expressiveness."

This comes from the translation theory of Chinese modern thinker Yan Fu:

• "Faithfulness" refers to ensuring the meaning does not deviate from the original text, meaning the translation must be accurate, without omission, and without arbitrary additions or subtractions.

• "Elegance" refers to the careful choice of words in the translation, pursuing a refined, clear, and graceful style.

• "Expressiveness" refers to the freedom to not be bound by the form of the original text, with the translation flowing clearly and smoothly.

I boldly adapt these three words as categories for my own practice as a fiber artist:

• "Faithfulness" is staying true to one's core, the unwavering center of creation. Here, I will talk about my beliefs, values, spiritual pursuits, and those silent forces that drive me to continue creating.

• "Elegance" is the shimmering fragments of life, the ongoing writing of temperament and sensibility. It records journeys, landscapes, readings, and moments of light, making "living" itself a part of the creation.

• "Expressiveness" is the practice of craftsmanship, the circulation and transmission of fiber techniques. I will share experiences of making, creative notes, material explorations, and technical skills, allowing knowledge to be passed on and dialogues to occur.

  
  

"Textile = Text," combined with Yan Fu's translation theory of "Faithfulness, Elegance, Expressiveness," merges with fiber art. This layered narrative approach reflects the multifaceted nature of fiber art as "readable," "translatable," and "sensory." Furthermore, these three are not categories but resemble the warp and weft of weaving.

Though parallel lines, where their intersection creates boundless possibilities for stimulation and imagination.