這是一則神話性的當代幻想。

在某次的臨海凝視後，一個畫面浮現腦中：一位遺留在這個海域的靈體，身著絳紅色傳統服飾，緩慢行走於岩石之間，祂凝視著海，像在思考，又像是與空無共處，以從容的姿態觀察海與時間，彷彿與地景融合為一。我相信祂的出現不只是我的偶然幻想，也許是土地映照給我的影像。祂尚且不是一位神明，只是一段陰性靈的想像，似一縷纏繞時間的氣息，悄然滲入此地。 我想著如何將祂的模樣顯化在現實中。我邀請兩位友人，一起扮演這位幻想角色，以兩人氣質的相似與差異，編織祂朦朧虛幻的多重面貌，像廟中的諸位媽祖，有著不同的形象和名字，但都是媽祖本身。藉此作法，來完滿這位靈的存在狀態。

如同北管細曲〈躂珠球〉所唱：「顛來顛去不能到眼前」，我們無法真正靠近這位幻想之靈，也無從看清祂的樣貌，但祂的存在，正是在如此的曖昧與距離中被感知。也許祂只是我的幻想，但能與友人一同顯影這緩慢的靈，也已是一種快樂的神仙時光。

This is a mythic contemporary fantasy.

Following a moment of gazing out to sea, an image surfaced in my mind: a lingering spirit inhabiting this coastal terrain. Dressed in deep red traditional garments, the figure walks slowly among the rocks, gazing at the ocean—perhaps deep in thought, or perhaps simply coexisting with emptiness. With a composed presence, the spirit observes the sea and time itself, as if gradually merging with the landscape. I believe this vision was not merely a personal illusion, but an image reflected back to me by the land. This being is not yet a deity, but rather an imagined feminine spirit—like a wisp of time-bound breath, quietly seeping into this place.

I began to wonder how this figure might be made manifest in reality. I invited two friends to portray this imagined character. Through their shared and differing temperaments, they weave together the spirit’s elusive, layered appearances—like the many incarnations of Mazu found in temples: different names, different forms, yet all the same deity. This approach became a way to complete the presence of this imagined spirit.

As sung in the Beiguan piece Da Zhu Qiu: “Tossed about by the waves, never reaching the lotus before my eyes.” We cannot truly approach this imagined spirit, nor see their form clearly. But it is precisely in this ambiguity and distance that their presence is felt. Perhaps it is only my fantasy—but to render this slow-moving spirit into image, together with friends, is already a moment of joy, like becoming immortals for a while.

藝術家｜陳怡瑄

陳怡瑄以錄像、裝置、實驗電影與空間策展為創作實踐，關注個人經驗與集體潛意識交織出的虛實記憶，轉化為緩慢流動的影像寓言，捕捉現實中被遺落、難以述說的情感。曾於關渡宮靈山公園發表限地展演《一曲靈山》（2023）。參與展覽包括2025永晝海濱美術館《水啦：WATER LIVES HERE》、鬧工作室《障紗後的微塵》、2024關渡光藝術節《燒聲》、2022北藝當代創作獎等。亦長期與河床劇團合作，擔任影像創作、舞台美術與演員，探索影像、表演與感知之間的多重敘事可能。目前就讀國立臺北藝術大學新媒體藝術學系研究所。

Chen Yi-Shiuan works through video, installation, experimental film, and spatial curation as her artistic practice. Her work explores the interplay between personal experience and the collective subconscious, transforming them into slowly unfolding visual allegories that capture overlooked or inexpressible emotions within everyday reality. She presented the site-specific performance "A Eethereality Presence" (2023) at Ling Shan Park, Guandu Temple. Her recent exhibitions include "WATER LIVES HERE" (2025 ZHENGBIN ART BIENNALE), "The Revenants" (2024, Now studio), "Sio-siann" (2024 Kuan Du Light Art Festival), and The 2022 TNUA Contemporary Art Prize. She is a long-term collaborator with Riverbed Theatre, contributing as a video artist, scenic artist, and performer.—exploring the layered narrative possibilities between image, performance, and perception. She is currently pursuing her MFA in New Media Art at the Taipei National University of the Arts (TNUA).