Artist Statement

邱翊琪是一位來自台灣的藝術家，現居並創作於桃園。她的創作從個人身體經驗出發，關注疾病、照護與身體復原過程中所產生的變化與痕跡。醫院中的照護經驗、手術與復原的過程，使她開始思考身體在脆弱與重建之間的狀態，以及生命如何在創傷與時間中持續轉化。重大傷病後逐漸恢復的身體、與疾病共生的生命型態，或走向凋零與變異的病體，構成她長期觀察與想像的來源。

透過觀察人體與自然界中的生命現象，邱翊琪將細胞、生物與組織的變化視為一種持續生成的生命景觀。她的創作經常以跨物種的想像為出發點，透過虛構生物的敘事，探索人類身體與自然生命之間的連結。在這些作品中，生命並非穩定的個體，而是一種不斷自癒、重塑與變異的過程，呈現出介於生物學觀察與詩性想像之間的生態寓言。

在油畫創作中，她描繪由樹木病變組織與人體組織交織而成的「皮下風景」，將植物的傷口與人體組織並置，形成一種混合的生物地景。在刺繡作品中，城市樹木與人體軀幹被轉化為如同標本或生物圖誌般的「生物日誌」，以纖維的手工痕跡重構生命的質地與時間性。近年的軟雕塑創作則發展出一種多肉的新物種，這些柔軟的身體既像器官也像植物，呈現出一種未被命名的生命型態。

在這些新物種的創作中，她引入家族工作中的穿刺技術與身體改造經驗。穿刺不僅被視為一種身體裝飾或技術行為，也是一種關於身體轉變的儀式。透過在展場中的表演行為，藝術家為這些虛構生物完成全身穿刺，使雕塑在靜態物件與行為之間形成流動的狀態，將身體、工具與時間轉化為作品的一部分。

透過這些跨媒材的創作，邱翊琪建立出一個介於科學觀察、個人記憶與推測性生物學之間的創作系統。她的作品持續思考身體、自然與創傷之間的共生關係，並試圖在跨物種的想像中，重新理解生命在變動與不確定性中的存在方式。

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I-Chi Chiu is a Taiwanese artist currently living and working in Taoyuan, Taiwan. Her practice originates from personal bodily experience and focuses on the transformations and traces that emerge through illness, caregiving, and bodily recovery. Experiences of care within hospitals, as well as processes of surgery and rehabilitation, led her to reflect on the body’s condition between vulnerability and reconstruction, and on how life continues to transform through trauma and time. Bodies gradually recovering after severe illness, forms of life that coexist with disease, and bodies that move toward decline or mutation have become enduring sources of observation and imagination in her work.

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Through close observation of the human body and the natural world, Chiu regards the transformations of cells, organisms, and tissues as a continuously evolving landscape of life. Her work often begins with cross-species imagination, using the narrative framework of fictional organisms to explore connections between the human body and other living systems. In these works, life is not understood as a stable entity but as an ongoing process of healing, reshaping, and mutation, forming ecological allegories that exist between biological observation and poetic imagination.

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In her oil paintings, Chiu depicts “subcutaneous landscapes” where diseased tree tissues intertwine with human anatomy, placing plant wounds alongside bodily structures to form hybrid biological terrains. In her embroidery works, urban trees and human torsos are transformed into “biological journals” resembling specimens or natural history illustrations, where the handmade traces of fiber reconstruct the textures of life and the passage of time. In recent soft sculpture works, she has developed a new succulent-like fictional species. These soft bodies resemble both organs and plants, presenting a form of life that remains unnamed.

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Within these invented species, Chiu introduces the piercing techniques and bodily modification practices derived from her family’s work. Piercing is not only understood as decoration or technical practice but also as a ritual of bodily transformation. Through performative actions within the exhibition space, the artist completes full-body piercings on these fictional organisms, allowing the sculptures to exist in a fluid state between static object and performance, transforming the body, tools, and time into integral components of the work.

Through this cross-media practice, Chiu constructs a creative system situated between scientific observation, personal memory, and speculative biology. Her work continually reflects on the symbiotic relationship between body, nature, and trauma, seeking to reconsider how life exists within processes of change and uncertainty through cross-species imagination