開光的吊燈 / 2 0 2 4 / 機 械 裝 置

Consecrated Chandelier / 2 0 2 4 / Mechanical Installation

在十字空間的中央偏右位置，設置兩座來自1970年代的吊燈機械裝置“開光的吊燈”。這對吊燈原為我之前裝置作品《正義路安魂曲第二樂章：港都夜雨》所使用，是我因緣際會購入一棟老屋時遺留於其中的兩件物品。這棟屋子早已荒廢多年，電力也早被台電中斷，然而在一次空間整理時，我無意間打開牆上的老式開關，這兩盞吊燈竟神秘地亮了起來——如同靈魂尚未離去，在幽暗中閃爍。這個奇異經驗對我來說是一種召喚，也是一種儀式的啟動。我特別將它們的燈桿拉長，並使其透過機械驅動產生緩慢而規律的擺動。這擺動的節奏，象徵著靈魂的搖曳與徘徊，也讓人聯想到道教儀式中香爐的來回搖晃，或是七爺八爺行儀時雙臂擺動的肢體姿態，一種介於召喚與超渡之間的肢體語言。對我而言，這吊燈的「擺動」更是一種對物件本身的開光過程。在這個空間中，它們不再只是老屋的殘留物件，而成為靈性與記憶的載體。

At the center-right of the cruciform space stand two suspended mechanical chandeliers from the 1970s, titled Consecrated Chandelier. These fixtures were first employed in my earlier installation Justice Road Requiem: Second Movement: Night Rain in the Harbor City. They had originally been left behind in an old house that I was serendipitously able to acquire. The building had long been abandoned, its electricity disconnected for years. Yet during the process of clearing the space, I accidentally flipped an old switch on the wall—and to my astonishment, the two chandeliers flickered to life. Their sudden glow felt uncanny, as though lingering souls had not yet departed, shimmering faintly within the gloom. That moment became, for me, both a summons and a ritual of initiation. I later extended their suspension rods and connected them to a motorized system, so that they swayed with a slow, regular rhythm. This pendular motion signifies the wavering of souls, their hesitation between realms. At the same time, it recalls the gentle rocking of incense burners in Taoist rites, or the swinging arms of the ritual figures Qiye and Baye as they perform their sacred procession. It is a corporeal language suspended between invocation and transcendence. For me, the “swaying” of these chandeliers constitutes an act of consecration, a process of imbuing the objects with spirit. Within this space, they are no longer remnants of a derelict house, but have been transformed into vessels of memory and carriers of the spiritual.