染料與耶穌
Dyes and Jesus
與大同部落部落彩虹屋簡大姐聯繫後了解許多關於部落的故事，了解太魯閣族人在處理信仰上，同時保留了他們的祖靈與耶穌，故事中的膽汁發黑的原因來自於與這座山距離遙遠的異文化－罪惡的起源。一直以來，部落的尊嚴、歷史與罪惡都和善的與非部落文化共存著，於是想在〈染料與耶穌〉處理一些關於黑色的事物，就像從部落織染、飲食與生活的經驗中找到一些傳統文化的灰燼，依收集自山上的黑色故事製作一系列關於聖經的插畫，在插畫製作過程中放入部落山上傳統生活中出現的植物汁液混在基底材上，就像那些故事裡燃燒在戰火、地緣、難以力抗生命改變後留存下來的魔法粉末。
After contact with the Rainbow House owner, Jing-Yun Ou realizes that the tribe people believe in their ancestral spirits and Jesus at the same time. Also, finding out about black bile in a tribal story, he relates this with a distant outside culture – the origins of evil. For a long period of time, tribal honour has consisted of both good and evil histories, and non-tribal cultures, simultaneously co-existing. For this reason, Jing-Yun wants to paint some stories about darkness, as seen for example in the tribal weaving and dyeing practices, diets and life experiences. The result will be a series of illustrations about the Bible, using plant juices mixed with painting material. The juice acts as the symbol for a magic powder that was found in a historical tribal war, tribal geopolitics, and the tribe’s difficulty to change their living conditions.
歐靜雲
以平面繪畫為主要創作的形式，常以神話知識中的宇宙觀、生命中的失落、歡愉的感官經驗與暴力的樣式為創作內容，同時以此作為作品感官視覺上的操作與命題的延伸，最後在創作中再現戰爭、享樂、宗教與人造事物之間關於與一些催情與癲狂的寓意，再思關於羞恥與關於罪惡的一切意義。
Jing-Yun Ou
Jing-Yun Ou applies painting as his main creative form. He often draws on mythical narratives of loss, joy, the sensual and the universe as his creative resource. These serve as creative methodologies through which he produces violent content, extending these notions into the medium of painting and the creation of sensory visual works. In his work can be perceived representations of war, pleasure, religion and the mania of the human condition, with some aphrodisiac and intent to influence the viewer to think about the meaning of shame and notions of evil.