台北當代藝術館_第二屆Pulima藝術獎_藝術家訪談_伊誕‧巴瓦瓦隆

展覽名稱│2014第二屆Pulima藝術獎
2014 The 2nd Pulima Art Award
展覽時間│2014/11/15-2015/01/04
展覽地點│台北當代藝術館 MOCA Taipei

第二屆Pulima藝術獎
優選獎：藝術家 伊誕‧巴瓦瓦隆(Etan Pavavalung)
作品名稱│如果有一天，大地的風不再吹了
If the Wind Stops Blowing, One Day…
年度教育贊助│文心建設

「原住民古老的智慧，包含整個生態大地與孕育五穀的大地。」

伊誕‧巴瓦瓦隆在1963年生於屏東三地門鄉大社村，是排灣族最北邊、最深山的達瓦蘭部落。他出身藝匠家庭，祖父和父親從事裝飾和建築工作，讓他從小耳濡目染，雖未接受正規的美術訓練，藝術因子已深植體內。他的創作靈感來自原鄉風土大地，以及排灣族神祕歷史文化，表現方式廣及詩歌、繪畫、雕刻、廣告設計、裝置藝術、攝影及影像記錄等。接受神學教育之後，伊誕開始思考「道」進入台灣與原住民待遇的問題，並積極參與原住民自覺運動，其間除了推動「原住民大專學生文學運動」，也曾為80年代的台灣野百合學運及原住民運動繪製百合花精神圖像，作為救贖與復活的象徵。

此次得獎作品〈如果有一天，大地的風不再吹了〉，是有意讓母體文化養分與生態神學概念進行對話之作，整體視覺圖像的呈現，印證了他致力融合「紋」路、疊「砌」、雕「刻」、「畫」色的藝術主張，對於某種「原生力量」的強調，以及延伸原始大地訊息、開創純真氣息美學，從而完成心靈重建的夢想。在訪談中，他提到山上的風讓我們聞到了自然的香，山上清新的空氣正是自然惠賜的無價之寶，這件作品以簡潔素樸的人像和植物造型，搭配了細緻刻畫、四處流動的風，引導觀者透過風去感受自然，如作者所言：「與造化自然建立新的和諧關係，好好學習聽聞大地的呼吸聲，體悟”她”的風吹氣息和對我們內心的神聖啟示。」

The ancient wisdom of indigenous traditions comes from the nature and the soil that grows crops and grains.

Born in 1963, Etan Pavavalung is from Davaran, the northernmost Paiwan tribe located in the forest village of Tjavarjan in Sandimen Township of Pingtung County. His grandfather and father were both professional decoration craftsmen and architects, which allowed the young Pavavalung to be immersed in art since childhood. Even though Pavavalung has never been formally trained as an artist, this background helped plant the seed for his creative career. The majority of Pavavalung’s works draw inspirations from the lands of his hometown and the mysterious history and culture of the Paiwan People. He works with a wide range of media, including poetry, music, painting, woodcarving, graphic design, installation, photography and video documentary. After studying theology, Pavavalung started contemplating the issue of Dao being introduced to Taiwan and encountering the indigenous culture, and became an active member of the indigenous revival movements. He not only advocated for the Literature for the Indigenous l College Students movement ,but he also painted images of lilies for the Wild Lily student movement and indigenous movements in the 1980s as a symbol of redemption and rebirth.

Etan Pavavalung’s work If the Wind Stops Blowing, One Day…represents a dialogue he intentionally created between his cultural heritage and theories of Ecological Theology. This painting is a strong example of his vision for art. Its execution reveals Pavavalung’s constant pursuit for the perfect blend of “grain pattern, layering, carving, and coloring” and his advocacy for “native vitality”. Through art, he has hoped to extend the message of Mother Earth, establish aesthetics of an innocent quality, and, subsequently, rebuild a healthy soul and spirituality. In an interview, Etan Pavavalung talked about a wind from the forest that brings the fragrance of nature, and about fresh air as the invaluable present from nature. The simple representations of people and plants accentuate the fluid movement of wind so finely depicted in the work. It invites the viewer to experience nature through the wind and, as the artist put it, “to form a new relationship with Nature, learning to understand the cadence of the breath of Mother Earth and the holy revelation she sends by wind to the inner soul of each person.”