004 →A Continuous Scroll（The Map）
2024.3
This project takes the form of a book about stories and maps. In Chinese, the word “story” (故事) combines “gu” (故) — referring to the past, reasons, or one’s hometown — and “shi” (事), which recounts past experiences. A story is thus a narrative of what has passed, of old acquaintances and bygone moments. It reflects our origins and the environments that shape us. Different geographical and cultural contexts create different identities, yet we may also share parallel emotions and experiences.
From personal to familial, from community to regional and national narratives, stories expand across boundaries. In sharing and preserving them, we remember and learn. As Jerome de Groot writes in Consuming History, history is tied not only to nationhood, nostalgia, and knowledge—but also to personal testimony and experience.
Contemporary history continues to unfold through global tensions—Israel-Palestine, Ukraine-Russia. Individuals, like molecular units, are small yet essential in the grand historical narrative. As Gloria Anzaldúa suggests in Borderlands/La Frontera, the lines between self, land, and identity are constantly shifting, shaped by conflict, reconciliation, and memory.
这个项目是一部关于“故事”与“地图”的书。中文中的“故事”，由“故”与“事”组成：
“故”意味着过去、缘由、故乡与旧识；“事”则是对经历与事件的叙述。因此，“故事”本身便承载着时间的流逝与人与地的关系。每一个人的故事，既是对“曾经”的回望，也是对自身根源的探寻。成长的环境与背景塑造了我们的身份，不同的文化与地理边界催生了多样的个体经验。
从个体到家庭，从社区到区域，再到国家，每一层的故事都交织成一个更宏大的历史结构。这些被讲述与流传的故事，不只是被纪念，也是被理解和学习的经验。正如 Jerome de Groot 在《Consuming History》中所言，历史既是国家的记忆，也是个人的经验与揭示。当代的历史矛盾从未停止——从以巴冲突到俄乌战争.历史在时间轴上展开，地域边界不断重绘。个体作为“分子单位”，在其中既微小又不可或缺。正如 Gloria Anzaldúa 在 Borderlands/La Frontera 中所探讨的，身份的边界、身体的界限与国家的疆域交织在一起——我们在冲突与融合中，不断重新认识自我与世界。
Why Stone? | 为什么是石头？
Stones carry the weight of time. As naturally formed matter, they embody accumulation, compression, and endurance. In my reflections on politics and history, I see stone as a metaphor for the impact of historical forces on individuals—whether through revolutions, wars, migrations, or ideological shifts. Even for those not directly involved, the consequences of history continue to shape who we are. Inspired by Pai Hsien-yung’s Taipei People, I believe personal stories, like scattered fragments, converge to form the spirit of an era.
Stone also evokes a sense of nostalgia and rootedness—a silent witness to the changing world. Artists like Olafur Eliasson and Jungjin Lee also explore the physical and emotional power of stone and landscape. Through this symbol, I aim to express memory, identity, and belonging—tracing how history becomes embedded in both land and body.
石头承载着时间的重量——它由时间自然生成，它记录着战争，革命、意识形态、迁徙与边界更迭的沉重痕迹。历史既塑造经历者本人，也影响后来者。受《台北人》等作品启发，我将个人故事视为时代的碎片，而石头也象征着个体，如同一个个独立的人，在时间长河中沉默伫立，见证集体记忆与归属感的叠加。以及个人的片段故事共同构成了时代的精神。
石头也唤起乡愁与归属感，是沉默的见证者。正如 Olafur Eliasson 与 Jungjin Lee 所探索的那样，石头既有物质性，也具情感张力。借由这一意象，我试图表达记忆、身份与归属——历史如何嵌入土地与身体。
History, like a painted scroll, unfolds in silence—each layer carrying the intertwined weight of the self and the collective.