2022WHATZ 超新星＿翁榛羚

｜2022 WHATZ ART FAIR＿超新星＿翁榛羚 Weng Jhen-Ling｜
「比起肉體的刑求，心靈上的刑求更為恐怖」感到共鳴，腐蝕的過程中，稀釋的硝酸液體，沾黏在皮膚上刺痛搔癢，讓我能得到已經不再受到控制與鞭策的「安全感」。
銅版對於我來說，是一片完整無缺的媒材，當淋上防腐蝕液的那一刻開始，我變成了「控制者」的身分，它乘載著與我外在相反的模樣，家庭塑造淑女的形象，在光潔的銅板上，是佝僂的形象，不斷的複製與刻劃，如同疤痕快癒合時又劃開。
這是與自我矛盾的地方，沉溺在痛苦中，來滿足「安全感」，卻又想逃出，因此在創作的過程中，不只是銅版對於「自我」，更多面向的探討不同時間、不同空間及不同的人事物中，那「地獄的風景」是甚麼模樣。
Compare with physical torture, mental torture is even more horrible. Somehow, I relate to it quite strongly.
During the corrosion process, the dilution of nitric acid adheres to the skin, tingling and itchy.
This makes me feel like I am no longer under control and feel secure.
For me, copper plate is an intact media.
While drenching corrosion protection on copper plate, I become a controller.
It carries something different from my appearance.
My family shapes a perfect image of the lady. But on a clean copper plate, it’s an image of rickets.
It’s continuously duplicated and etched. Just like the wound is almost healing up but ripping again.
This is how it contradictory.
Live in sorrow to satisfy my sense of security but eager to escape as well.
In the creative process, I’m not only thinking about myself but also wondering in different ways, what kind of existence of copper plate it is for the others.
The view from hell, how does it look like?
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