木刻印章印於雲彩紙；50x50公分
兩木刻印章（釋文：這是／牛皮紙）*以硃砂紅色印於雲彩紙，每枚都與隔壁方向不同。紙張紋理使印文自然斑駁。
今日，僅三國（日本、南韓、台灣）保留個人印鑑法律效力，其使用方式類似簽名。日本特種東海製紙「レザック66 」是一款金屬滾筒壓印而成、仿牛皮紋理的紙張。或許因為「牛皮紙」已通用於指涉另一種紙材，此紙在台灣俗稱雲彩紙。作品聚焦身分的建構，以及語言在當中的角色。印文外表（請見下圖）喚起對金石味（古代青銅器和石碑散發的韻味，為此雕刻家經常刻意破壞、製造歷史痕跡）的追求；其構圖借鑒東亞文字井字結構，回應篆刻在當代藝術領域逐步邊緣化、尋找自身方向的狀態。
*非我所刻。在台灣，因應印章需求，有提供機器或手工刻章的店家。本印章由機器製作：人們選擇字體，經師傅修改文字結構和筆畫製成（因此不同店的相同文字印文、或同家店每次製作的相同文字印文，都可能略有差異）。
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Wooden seal on cloud paper; 50x50(cm)
Two wooden seals,* inscribed with “這是 (this is)” and “牛皮紙 (cow leather paper),” stamped on 雲彩紙 (cloud paper) in vermilion, each oriented differently from the one next to it. The paper texture gives the stamps a naturally mottled look.
Today, only three countries (Japan, South Korea, Taiwan) retain the legal validity of personal seals, which are used similarly to signatures. Tokushu Tokai Paper’s “LEATHAC 66” is a type of paper produced using a metal roller embossing printing process, mimicking calfskin. Perhaps because the term 牛皮紙 commonly refers to another type of paper (kraft paper in English), this paper is known as 雲彩紙 in Taiwan.
The work focuses on the construction of identity and the role of language within it. The stamps’ look evokes the pursuit of 金石味—the aura of ancient bronzes and stone tablets, which carvers often emulate by damaging deliberately and creating historical traces. The composition references the 井 structure of East Asian characters, reflecting how seal carving, a traditional art form, has become marginalized in contemporary art scene while searching for its own direction.
*Not carved by me. In Taiwan, to meet the demand for seals, there are shops offering hand or machine carving—these seals were made by the latter: one chooses the font, and the craftsman then modifies the structure and strokes of the characters to create seals. As a result, the same characters from different shops, or even from the same shop at different times, may look different.
