生 ⇆ 熟 ⇆ 福 Raw ⇆ Ripened ⇆ Happiness

• Dual-channel HD Video, colour, sound, duration 20 min 12 sec, x6 wooden stamps (sizes variable), Red ink pad, Clay/mud (locally sourced), Paper map of Taiwan 110 x 70 cm, Kinetic machine (1st edition) wooden, wooden stamp, dimensions variable, Wooden crate, Kinetic machine (2nd edition) steel, motor, wooden stamp, dimensions variable, 2021

《生⇆熟⇆福》作品的創作靈感來自於自我尋根的過程中的反省，面對於身份認同得依靠無情的日據時期戶口名簿所登記的人種分類法來了解家族背景，而原住民身份還得繼續使用充滿歧視的前殖民政府的同化歸類法來證明，如此歸類法可回朔到中國清政府至日據時期。透過「生⇆熟⇆福」作品，我想詢問為什麼身份認同必須依賴於充滿歧視用語的前殖民文件，為什麼身份認同不是來自於家族口傳下來的歷史故事呢？隨著時間的沖洗，祖先所彎過腰的土地與我所處在的當代關係裡，有如一場時空錯訊。生、熟、福 每個字刻在一個印章上，然後開始往身體烙印蓋章，有如戶口名簿，我的身體從祖先開始一直被標籤化，印章有如權力賦予標籤化的合法性，而對於土地和身份認同的認知，我是否可以解除這場錯訊呢？

Raw ⇆ Ripened ⇆ Happiness encompasses a series of works that contemplate how the circumstances of colonisation from the Qing dynasty period and into the Japanese period informed diaspora and disconnection amongst Indigenous Atayal communities. Processes from these periods inform the works which carry the action of stamping as both a physical and metaphorical interpretation. The stamps recollect the traditional kanji characters and are carved into the wood in sizes reflective of government status. These stamps traditionally identified a person based on their level of assimilation deemed by the colonial ruler. They determined assigned categories by brandishing a stamp onto official documents created in the colonial mother tongue. These documents often removed Indigenous naming lineages, and addresses passed down orally. Through this action, entire generational identities shifted to suit the colonial whim as families were forced to relocate or descend from mountains with plentiful resources. These actions reflected in Ciwas's own familial experience caused generational trauma for many who became culturally and physically disconnected; often, traces remained buried, scarce, and faint. This is seen in the faint traces left behind during performances by Ciwas using the action of stamping herself with both mud and ink. Reflecting both the faint and easily washed away connection to land at the same time, the red ink demonstrates the strength of the colonial bureaucratic ability to heavily stamp and weigh down entire generations.

In both live and digitalised performances Ciwas uses their body as a stamp, stamps herself with a handheld stamp, and also has her body stamped by a kinetic machine that brandishes a mallet head repeatedly down onto Ciwas's body where the umbilical cord once was. These repeated actions question why outsiders defined identity through labelling and how the discriminatory naming of a person as 'raw', 'cooked' or 'ripened' has skewed connection to community and land for many. The kinetic machine brandishes the seal onto the body as Ciwas is silent, internally questioning. These stamps, kinetic machines and ink form a pathway for understanding and a reconnection to a lost and hidden history that weighs heavily on the shoulders of today. By stamping repeatedly on both body, paper and maps, Ciwas seeks to acknowledge past actions in order to navigate the future.