“小丹尼” / 660隻玩具狗，木，鋁條，布，電源供應器，感應器 / 240x450x120cm / 2001

"Little Danny" / 660 dog toys, wood, aluminum, fabric, power supply, consor / 240x450x120cm / 2001

“小丹尼”是"小丹尼-奧地利製造"較小也是最早期的版本

"Little Danny" is a smaller and incunabular version of "Little Danny-Made in Austria".

Little Danny 是我在台灣廉價玩具店看到的毛絨機械玩具，他的身體是臘腸狗，身上的斑點卻是大麥町的，顯然是兩種純種狗合在一起的雜種狗，這讓我想起了我出生的地方-台灣，原來是這種廉價玩具狗的製造地，我們多少家庭是靠這些廉價玩具吃飯長大的，並且我們的文化也是各種不同文化拼貼而成的雜種文化，因此我覺得Little Denny可以成為台灣的象徵物。為了頌揚這種不斷製造的精神，我做了一個2.5米高的little Danny雕塑，身上長滿了這些原來尺寸的Little Denny玩具，安裝在一個對2.5米雕塑如同玩具盒大小的空間，當觀眾一進入房間，群狗狂吠，吠出了大量製造的鬼魂，和不斷辛勤的勞動。

彭弘智

Little Danny is a plush mechanical toy I encountered in a low-cost toy shop in Taiwan. Its body resembles that of a dachshund, yet its spotted coat evokes a Dalmatian. Evidently, it is a hybrid assembled from two distinct purebred dogs—a mongrel produced through the artificial splicing of recognizable forms.

This composite creature immediately reminded me of the place where I was born—Taiwan—long known as a manufacturing site for inexpensive toys such as this. For many families, including those of my own generation, livelihoods were sustained through the production of these low-cost commodities. In this sense, the toy is not merely an object of childhood amusement but a condensed artifact of labor, industry, and economic survival.

At the same time, Taiwan’s culture itself may be understood as a hybrid formation: a patchwork assemblage shaped by layered histories, migrations, and external influences. It is, perhaps, a “mongrel culture,” constituted not by purity but by mixture. For this reason, I regard Little Danny as a potential emblem of Taiwan—an unlikely yet precise symbol of its material and cultural condition.

In homage to this relentless spirit of production, I created a 2.5-meter-tall sculpture of Little Danny. Its surface is densely covered with numerous toys in their original, miniature scale, as though the enlarged body were proliferating its own replicas. The sculpture is installed within a confined space proportioned like a toy box relative to its monumental size.

When viewers enter the room, a chorus of barking erupts. The pack of dogs seems to vocalize not only animal sound but also the spectral presence of mass production itself—ghosts of labor, echoes of factory work, and the ceaseless rhythm of industrious manufacturing.

Hung-Chih Peng

攝影： 李國民 Photo: Kuomin Lee / 彭弘智 Hung-Chin Peng