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
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 disconnection amongst Indigenous Atayal communities. 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. Through this action, entire generational identities shifted to suit the colonial whim as families were forced to relocate. These actions reflect cultural and physical disconnection; 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 with mud and ink. In both live and digitalised performances Ciwas uses their body as a stamp, with a handheld stamp, and also has their body stamped by a kinetic machine that brandishes a mallet head repeatedly down onto Ciwas's body. The kinetic machine brandishes the seal onto the body as Ciwas is silent. By stamping repeatedly on both body, paper and maps, Ciwas seeks to acknowledge past actions in order to navigate the future.
Hualien performance video stills
Live performance video stills, 2019
Paper mud traces, 2019