巫語之國——杜爾創作表現策略

The Realm of Incantation: Expressive Strategy of Dua's Creation

馬來西亞的華人一直被當地的馬來人視為異己，而當馬華族群來到臺灣後又被臺灣人視為僑胞的他者身分，流離的文化認同是馬華藝術家們共同的生活經歷。本文研究的馬華藝術家杜爾亦是同志族群的一份子，多重的弱勢身分激發了他的文化抵抗。在臺灣的藝術圈中，他重新擁抱醜怪、情慾與原始文明，以一種全新的姿態面對當代藝術的挑戰。在臺灣學習陶藝的過程中，拋棄了過去學習的水墨畫與西畫，從陶土的特性開始發展，讓作品結合馬來西亞的雨林文化、中國青銅器文化，藉由作品的塑造開展自身的性別認同與文化身分。杜爾的作品在創作上運用了敢曝的策略，以誇張的姿態呈現陽具的力量，並以原始部落裡生殖崇拜的方式，創造出屬於自己的情慾怪物，探討自身情慾的面向。另一方面，杜爾的作品並不僅止於藝術層面的呈現，他把作品視為儀典的一部分，虛構的原始藝術的祭典與原生藝術式的創作，反轉現代主義的凝視，表現出邊緣化主體的再度肯定。杜爾所建構的神話式宇宙觀，最終的目的是打造出現實社會中的異質空間，並以此作為對現實場域的抵抗。

Malaysian Chinese have long been seen as dissident by compatriot Malays, while visiting Taiwan, they are considered to be foreigners despite sharing a common ethnicity with the majority of Taiwan’s population. Displacement of cultural identity is a collective experience shared by Malaysian Chinese artists. Being homosexual as well, the subject of this essay, Malaysian Chinese Artist Dua, thus bears the status of multiple disadvantaged minorities, which in turn has given rise to his cultural resistance. During his time in Taiwan, Dua was able to embrace grotesque, lust and primitiveness, confronting the challenges of contemporary art with a brand new gesture. When studying ceramic in Taiwan, he abandoned Chinese ink and Western paintings, which he had learnt previously. Combining properties of clay with the cultures of Malaysian rainforest and ancient Chinese bronze ware, he unfolds his gender and cultural identity via sculpture. The artist takes on the tactic of camp. By displaying the power of penis with exaggeration and adopting the idea of phallicism from indigenous tribes, he creates his own erotic monsters and probs into personal sexual nature. Apart from artistic expression, Dua also considers his works as ritual components. Through fictional ceremony of primitive art and Art Brut-like practice, the gaze of modern art is reversed, and the recognition of a marginalized subject is regained. The ultimate goal of the mythological cosmic view constructed by Dua is to create an heterogeneous space within the society, as a resistance against the reality.