搗蛋鬼的藝術之路 ─ 王家妤 專訪 ● 你好藝術 Wang Jiayu Interview

採訪│陳儷云

攝影│智邦藝術基金會 / Anew Chen

2019-03-31

一直玩一直玩的孩子氣創作法

Arts Method of a Continuously Playing Child

2014年才正式踏入藝術創作領域的王家妤，像個好奇的孩子走入大森林，每顆落在地上的種子，大樹上的葉子，林間透出的光都觸發她的想像。進到台藝大美術系之前，王家妤自認過著平凡生活，管理學院畢業後在英文才藝班擔任老師，順利的戀愛、結婚，她用處女座的踏實性格，將眼前的任務完成。然而內心的頑皮孩子，仍頻頻探頭想看見更豐富的世界。

很多女孩童年的玩伴都是紙娃娃、芭比，幫他們換上不同的衣服，找到各種物品代替家具、擺設，設計出場景，讓他們扮演不同的角色。王家妤形容自己的創作思考，就是這樣的過程，陳設場景，服裝、化妝，讓鏡頭前的模特兒變身成她腦中的角色。自從養了貴賓狗『阿福』之後，阿福也就成為她攝影與插畫中的重要主角。『我會觀察拍攝對象的特質，透過道具和場景安排，讓他們進入角色裡面。』王家妤喜歡觀察、喜歡與人交流，在她的腦洞幻想中，這個世界像是大大的遊樂場，充滿許多有趣的人事物，即便遇到不喜歡的事，她也調侃一笑置之：『世界還有太多未知值得去探險，所以不需要因為失意而卡關停留。』

Having entered the world of arts not until 2014, Wang Jiayu resembled a curious child venturing into a vast forest; her imagination was triggered by every seed fell on the ground, leaf of a big tree and the light which penetrates the foliage. 

Wang, who was adapt to ordinary life prior to the National Taiwan University of Arts´ graduate program in fine arts, graduated from the College of Management, accepted an English language position as a creative arts teacher, smoothly found her love and got married – accomplishing all the tasks set out in front of her with the pragmatism of a Virgo. However, the mischievous child inside her wanted to time and again uncover more of the abundant world.

Paper dolls and Barbies are playmates to many girls in their childhood. Changing clothes, different decorative articles and planned out scenes allow girls to play with different roles. Wang describes her creative thinking as being a similar process: the scene, costume and the makeup allow the model in front of a camera to transform into a role in her mind.

Since Wang had Afu – her poodle dog – it too has transformed into an important protagonist in Wang´s photography and illustrative work.  

”I observe the characteristics of the target objects, and allow them to enter roles through props and stage design”. 

Wang likes to observe and interact with people. In the abyss of her imagination, the world is a big playground full of interesting people and things, and even when faced with matters she does not like, she just shrugs them off with a smile:  ”the world has so much unknown worth exploring, that one needs not to get bogged down in frustration”.

隨著命運的骰子前進，人生就是桌遊大富翁

With destiny rolling the dice, life is a game of gains

2013年因為工作的需求，她因為工作上需要規劃兒童美術課程，輾轉到台藝大的學分班進修，意外通過在職班的入學考試，於是在家人的反對之下，她花上了許多時間學習繪畫，完成課業。從小在大家庭長大，管理學院背景出身，養成了凡事以『群體』、『組織』的最大福祉為目標，想自己可以貢獻什麼，依據團隊給的目標，盡全力完成任務。當王家妤走入創作的世界，才開始發現她鮮少思考的是自己是什麼？如何說明自己的思考？『我成長在一個十分傳統的大家族，在長輩們眼中，學藝術是不會賺錢的，我從穩定的生活轉向藝術創作，在家人眼中就是一大禁忌，也是叛逆。』王家妤談到原生家庭對於『學藝術』的偏見時，也提到另一半對她的支持與鼓勵，她覺得自己是幸運的。

2018年底因為朋友的鼓勵，王家妤參加了新竹市鐵道藝術村的駐村遴選，以看似屁孩行為的『搗蛋計畫』獲得青睞，然而在得到駐村機會之後，因為自我認知和社會期待相互牴觸，她進入創作的焦躁與糾結。『我的搗蛋計畫，就是想突破社會的約定俗成，像是鄰里間鄉愿的包容違規停車；三姑六婆對孩子的錯誤期待；功利掛帥的教育制度…有太多事情明知道不好，卻因為大多數人都這麼做就視而不見。我想要用誇張、搞笑、醒目的方式說出來。』所謂『屁孩』就是大聲的講出自己認同的事，還用圖像拼貼的方式在街道上塗鴉。王家妤喜歡用影像說話，透過攝影和塗鴉的拼貼，讓純真的自己可以說出內心話，但是在長年受的『好孩子』教育中，她仍會擔心自己的作品被誤解為戲謔或惡搞。

『我是有勇無謀，做自己覺得有趣的事情，然後就順流走到下一個階段去了，不論進入美術系或是申請駐村，都是沒有預設結果而做的事情，意外的考上台藝大、意外獲得駐村。』王家妤坦然的談到這一連串的意外，她形容自己總是像個跳高空彈跳的人一樣，從躍躍欲試到即將跳下前的緊張猶豫，各種幻想折磨，最後克服心裡的障礙，奮力一跳，並痛快的享受。她期待著2019年盡情享受創作時的苦思、煩惱、憂鬱，也將獲得專注、興奮、愉悅的創作歷程。

Because of her work having a demand for children´s art courses in 2013, Wang found herself studying again, having unexpectedly passed the entrance exam into the NTUA´s extracurricular studies, and, despite her family´s objection, spent much of her time completing courses on painting studies.

Born in the surroundings of the College of Management, and having grown up in a big family, she developed a tendency to think of giving her all for the common goals and the best interest of the given group. When she entered the world of arts, she came across a question she had not often thought of: what is a person? How to explain one´s thoughts? 

”I grew up in a 100% conservative household where, in the eyes of the elders, studying arts is not a way to make money, and where my shift from the stable life towards arts was seen by the family members as something prohibited and rebellious”.

While she talks about the time of her family´s prejudice towards studying arts, she also mentions the support and encouragement from her partner, that makes her now feel fortunate.

Encouraged by her friend, Wang applied to the Art Site of Railway Warehouse´s artist residency in Hsinchu in the end of 2018. Her immature ”rascal plan” was well received, and once given the chance for residency, with her self-identity at odds with what the society expected from her, she entered the impatient and baffling art scene.

”My rascal plan is about breaking free from the common customs in society, as if violating the parking order which allows the residents´ taboos only; a woman spilling the beans about misconceptions of a child; an education system taken over by utilitarianism... There are too many things which are known to be bad, but if many enough people do them, a blind eye is given. I want to talk about them in an exaggerated, funny, and eye-catching way.” The immature part in her work is a loud voice expressing matters of self-identity, much like a graffiti would work as a pointer on a street map.

Wang likes to let the pictures talk. She expresses the innermost self through photography and graffiti. However, the long lasting ”good kid” education system makes her worry that her works are misunderstood as jokes or just plain shit. 

”I am more about passion than sense, as I do things I find interesting. And when it comes to the next step, whether entering into arts education or artist residency, it is due to a result of spontaneous actions or unexpected outcomes”. 

Wang talks calmly about her series of unexpected events which she describes as similar to bungee jumping. From the desire to jump, and the prior hesitance and tension arising from all kinds of fears, comes about the surpassing of the inner obstacle, as one pushes oneself to do it and to happily enjoy it.

In 2019, she looks forward to enjoying her heart´s content the hardships, worries and melancholy on the road to arts, while also embracing the concentration, excitement and pleasure that come with it.

王家妤簡歷

國立臺灣藝術大學美術系畢業

2015”咦!?可不可以…”展覽/臺灣大學總圖書館

2015 Which is the first?五人聯展/北投公民會館

2015”黑船來襲”展覽/國立臺灣藝術大學

2016”痕跡”展覽/四四南村

2018 新竹市鐵道藝術村專案講師

2019 新竹市鐵道藝術村駐村藝術家