Be in Vain / 徒勞作為一種方法

我用十分耗費時間與精神、金錢的工藝技術來生產、修復、加工了這些日常用品、或是日用品的碎片。

耗費時間材料，但卻不好用、檯面軟塌的桌子；用手續繁冗的金繼工藝技法修復一個不再能裝水的陶盆；為死去的便宜植栽反覆塗刷生漆作為保存；為便宜的龍眼木炭批覆上昂貴的生漆，並且打光，但燈具卻拙劣地極度接近；蒐集山邊如雜草般叢生的芒草穗，並且細心存放在高級的玻璃箱裏；尺寸過長、實心檜木的椅條。上述一切行為之於各物件之功能與價值，盡是徒勞的生產行為。

我付出的一切與各物件所能成全的使命產生了落差。但我認為那個落差會以另一種方式回到物件本身：即化為一種詩性，回歸於物件。簡言之，徒勞的生產行為可以換來詩性，成為一種詩性的方法學。

I use time-consuming and mentally, financially exhausting craftsmanship techniques to produce, repair, and process these daily items or fragments of daily items.

A table that is time-consuming and material-consuming to make, but not practical and has a soft, sagging surface; a pottery basin that can no longer hold water, repaired using the laborious Kintsugi technique; repeatedly applying raw lacquer to preserve cheap, dead plants; coating inexpensive longan charcoal with expensive raw lacquer and polishing it, yet the lamp remains clumsily close to being useful; collecting wild Miscanthus seeds from the mountains and carefully storing them in high-grade glass boxes; excessively long, solid cypress wood chair slats. All these actions are futile in terms of the functionality and value of the objects.

There is a gap between all the effort I put in and the missions these objects can fulfill. But I believe that gap will return to the objects in another form: it transforms into a kind of poetry, returning to the objects. In short, futile production efforts can yield poetry, becoming a methodology of poetry.