詩集《感官編織》的文字和圖像作品創作時間,橫跨了蔡宛璇生命中較多大幅度空間移動的七年。這七年中,作者完成藝術學院學程,並以生活者和造型藝術工作者的狀態,先是在法國/歐陸進行創作活動,之後慢慢移轉,進而回到台灣定居,開始重新去認識自己所來之國度、成長之地域。

The creation time of these poems and drawings collection entitled “Sensory Weaving" spanned a period of seven years, rich of travels and movements, in Wan-Shuen Tsai’s life. During these years, the author completed her studies in art schools in France and starting a process of artistic and creative activities in Europe, then progressively settled down in Taiwan, a time for revisit the country she comes from and the locations where she grew up.

相關評論摘選:

她長於以感官經驗表達抽象思維,對於生命、生活與生態的省思,不出之以哲理推想,而是透過自然景物和環境生態的表相與現象,來傳達一些概念或主張。——評論人  果子離

《感官編織》四溢著凹陷、裂隙、逆向、倒影、回聲、反覆與游離,宛璇以這些手法編織她的生活和語言,記憶與遺忘,從而活著因此有詩。——詩評人  黃粱

我不偏好充滿意象,過度密集的語彙,因為那樣只會讓我頭疼,把我推離詩,奇妙的是我著迷於宛璇的詩作裡沒有方向的迷航。 ——詩人  阿米

從一系列冬天的詩開始,結束在故鄉的海景,評價《感官編織》的閱讀之旅是困難的:它既不能說是強烈或疏淡,而接近稱之為phantom ride的電影手法 (…) 那不盡然是銳利的視點、鮮活的詞彙、深刻的思辨——難怪詩人隱匿會寫道「我不敢說她的詩是最好的」——是對形式的直覺(也包括外部豐富的樣式)。- 自由時報副刊書評

Reviews:

“Sensory Weaving" is full of hollows, fissures, inversions, reflections, echoes, repetitions, and dissociation. Wan-Shuen uses these techniques to weave her life and language, memory, and oblivion, so therefore it becomes alive and therefore it is poetry. 

— Huang Liang, poetry critic

I don’t prefer writings overly dense, full of evocations, because that will only give me a headache and push me away from poetry. The wonderful thing is that I am fascinated by the directionless wandering in Wan-Shuen’s poetry. 

— Ami, poetess

Beginning with a series of poems about Winter, and ending with a seascape in her hometown, it is difficult to evaluate the reading journey of “Sensory Weaving": it can neither be described as intense or bland, but it comes closer to the cinematic approach called phantom ride […]. These are not only sharp points of view, a vivid vocabulary, or a deep reflection — no wonder the poet Yinni wrote “I dare not say her poems are the best”— but more an intuition of form, including its external richness. 

—  Liberty Times, books review

 

蔡宛璇

澎湖成長,旅法數年,現居台北地區。創作媒介從裝置、圖像、錄像和詩文著手,她的裝置作品經常具暫時性,並與所存在的空間構成一特殊關係。而她的錄像創作受實驗電影啓發,呈現開放性的敘事空間或將風景轉變為內在活動的的折射,時而與詩作結合。2004年起與聲音藝術工作者 Yannick Dauby 合作「拾景人」系列創作計劃,陸續於台北、法國、愛沙尼亞駐村, 透過展覽、出版、錄像或小型演出等形式發表的駐地影音創作,自此逐步探索創作空間的多元可能:社群與藝術的交會、與其他藝術人文領域合作…等等。2008年兩人共同成立回看工作室(www.hui-kan.com),主要聚焦聲音藝術推廣 、聲音作品出版、社群藝術等項目的策劃與實踐 。著有個人詩文詩集「潮  汐」(2006)、「陌生的持有」(2013)、活版印刷有聲親子詩集「我想欲踮海內面醒過來」(2017)、「感官編織」(2021)

Wan Shuen TSAI

From the age of fourteen, while she initiated and developed her practice in fine arts, she also built a personal poetic territory – the only writing domain in which she felt a pleasure and ability comparable to those for visual arts.

Exploring different forms of poetry composition, her project relies on the description of sensorial experiences, phenomenology of natural elements and anecdotes. 

Raising her two children in Taiwanese, her mother tongue, she began writing poems in this language that was repressed during the colonization of Taiwan and the following longest martial law in the world.

She has published poetry collection titled Tide (2006), A Collection of Poems and Drawings (2013), and Je Voudrais Me Réveiller Dans la Mer (2017).