從土地出發 ─ 呂紹川專訪 ● 你好藝術 Lu Shaochuan Interview

採訪/ 李育萱 陳儷云

新屋是桃園市內最大的農業區塊，以水稻栽種為主。如同台灣典型的農業聚落，因為農業政策改變，面臨青壯年人口外移的處境。這裡，同時也是目前桃園市境內最高齡化的行政區。

目前正就讀清華大學藝術與設計學系藝術創作碩士的呂紹川，是在地新屋人。「在這裡長大的小孩，應該會更羨慕都市吧!」紹川望著老家後面，阿公的稻田，淡淡地說。「但真正出去走了一圈，又驚覺都市好像也沒這麼好。所以回過頭來看看自己的根。」台66線上，稻田就在路的兩旁，從都市出發的我們，望著這片景緻，呼吸、吐氣、呼吸、吐氣之間有了餘裕。

Xinwu is the biggest agricultural district in Taoyuan city mainly because of rice growing. As any typical agriculture community in Taiwan, due to a policy change, it now faces a situation where the young adult population is migrating elsewhere. It is currently also the oldest administrative district within the city borders. 

Lu Shaochuan, a resident of Xinwu, studies for a master´s degree in Tsinghua University´s Department of Arts and Design. 

"As a child, who was growing up here, it was easy to envy the city", Lu says vaguely as he looks at his grandfather´s fields behind his home. "But after really going out there, it was a surprise to find the city not that good either. So, I returned to my roots". 

On highway 66, where the crops grow on both sides of the road, we who come from the city eye on the scenery and the ample space to breath. 

新竹市鐵道藝術村的駐村藝術家之一， 就讀大學藝術與設計學系藝術創作碩士的呂紹川

行走藝術家養成的這條路，9年級的紹川由平面繪畫開始。大學時代離家很遠，因此他的作品都大都以「家」為想像，從內心出發並聚焦在比較「個人」的創作。後來，研究所離家近了，又有實質的工作經驗，整個人更加入世，他便漸漸地思考著「藝術除了繪畫之外,還有甚麼樣的發展?」紹川開始從平面跨入裝置，創作題材從個人進入社會。「當我的創作，要從個人在走向對於社會的關注和探討，那勢必應該得跟這些議題要有更多連結，不然(議題處理上)就太遙遠了。」因此，小時候的成長經驗，誘發了接下來的創作動機---「從土地出發」。

Lu began his journey into arts in ninth grade by drawing. Because he had to travel far for the university, most of his creative works visualize home and focus on personal things that come from within. Later, with graduate school close to his home, and with more work experience, having endeavored the world, Lu began to contemplate "what else there is to progress in arts except drawing". He transgressed from surface level to the subject-matter as his creative theme shifted from personal to the level of the society. "For my works to move from personal level towards observing the society, they are bound to have more to do with questions like these – otherwise they remain too remote". 

Experience of growing up had induced the motif for his creativity that was now "Land-spawn".

創作，是紹川與自己多次的來回辯論的過程

在新竹市鐵道藝術村的駐村創作計畫裡，紹川如此描述：「以藝術的手法，表達農民對於土地的情感，給予現代人對於日常所習以為常的食物，有更深刻的體悟。」在這個當下，他計畫和新竹在地的農民一起創作。「透過實際參與農人的工作方式，深入了解他們的生活，進而尋找創作發想的切入點。」紹川表示。因此，將藝術作為一種紀錄方式，在創作者和農人之間，透過一起插秧施肥，一起曬同一顆太陽，一起流汗勞動，編織共同經驗，最後轉化成作品。

Currently being a resident at Hsinchu city´s Railroad Art Village, Lu argues that "a technique, which expresses the feel that farmers have towards the land, renders it possible for the new generation to better comprehend the daily food which they are accustomed to".  

While in Hsinchu, he is currently planning to create something together with the local farmers. Having actual experience in farming work, and going deeper into how farmer´s life is, Lu explains to be in search of creative points of interest. Thus, his art is to act as a record of an artist and farmers experiencing together the planting of rice, basking under the same sun and feeling the strain of manual labor, with eventually turning those shared experiences into artworks.

農人的麥克風，交工樂隊的詞曲，是紹川成長過程裡的良伴

卸下創作者的身分，紹川同時是一位教人畫畫的老師

當代藝術，或著說「屬於我們這個時代的藝術」，或許它所重視的是「參與過程」而非作品的「最後呈現」。從土地出發的作品，又會是如何在城鄉之間流轉，延伸出什麼樣的故事心情，且讓我們拭目以待。

Perhaps the importance of contemporary art – or the art of our generation, as it is often said – is the participatory process, rather than the latest style in appearance.  

As for dramaturgy, let us keep an eye on how much can the land-spawn art achieve as it roams about the urban and rural areas.

延伸閱讀
 
土地的紀錄者_吳易澤專訪
看到、摸到、體會到 ---張皓涵專訪