從日常秩序、時間感與微觀觀察出發，揭示個體如何在生活系統與社會節奏中被形塑。

JUNG, Choulgue begins from everyday order, temporality, and close observation, revealing how the individual is shaped within systems of daily life and social rhythm.

日常中特別享受的片刻？

我喜歡一個人散步。有時在附近的運動場來回走著，過程中會開始注意到過去不曾看見的風景，或是聽見平時沒有注意到的聲音。走著走著，原本複雜的思緒慢慢沉澱，情緒也得到整理。對我而言，散步時的思考並不是為了解決問題，而是一段重新專注於自己、找回感官的時間。

Ａ moment in everyday life that you particularly enjoy?

I enjoy walking alone. Sometimes I walk back and forth around a nearby sports field, during the process I begin to notice scenery I had never seen before, or hear sounds I would normally overlook. As I walk, my thoughts gradually settle, and my emotions start to process. For me, the thought generated while walking is not about solving problems, but about taking time to refocus on myself and reconnect with my senses.

如何讓個人的故事，引發他人的共感？

我認為，那些無法用語言解釋的情感，反而更接近生命的本質。曾經喜歡一個人的心情、無法融入某個群體的經驗，以及在社會偏見下不得不隱藏的情感，都不會輕易消失，而是長久地留存在生命之中。我也相信，當個人與他人的經驗相遇時，最終將延伸出新的共感可能。而創作，正是一個能將記憶視覺化的過程。

How does a personal story resonate with others?

To me, the unexplainable emotions in fact, are closer to the essence of life. The feeling of once being drawn to someone, the experience of being unable to fit into a particular group, and emotions that had to be hidden beneath the social prejudice do not simply fade away. 

Instead, they remain with us over time. I also believe, when an individual experiences encounters with others, new possibilities for connection will ultimately emerge. Making art is a process in which memory is visualized.

面對內在傷痛，藝術能成為一種療癒嗎？ 

我不認為壓抑、不安與傷痛，是需要被消除的事物。有了這些生命經驗，也構成一部份現在的自己。因此，藝術創作不只是面對傷痛時的療癒或對抗。而是讓那些無法說出口的情感得以浮現，並創造一個能夠與它們共存的空間。

Can art become a form of healing when we face our inner wounds?

I don’t think that repression, anxiety, and pain are things that need to be erased. These experiences have become part of who I am today. For this reason, making art is not simply a way of healing or rebel when confronting pain. Instead, it allows emotions that cannot be put into words to the surface, while creating a space where we can coexist.

從玻璃到石材、到布料，是你選擇材料，還是材料帶領了你？

開始新的創作時，我並不總是帶著明確的計畫去選擇材料。有時，作品也可能從與材料的一次偶然邂逅開始。我會被材料本身的物質性，以及它所承載的社會記憶或隱喻吸引。玻璃、石頭、布料各自帶有不同的感覺，但都能成為一種語言。因此，對我而言，材料不只是表現的工具，也會與我一起，慢慢形塑出創作的方向。

From glass to stone to fabric, do you choose the materials, or do the materials lead you?

When beginning a new work, I do not always choose materials with a clear plan in mind. Sometimes, a work can start with a random encounter with a material. I am drawn to the materiality of the material itself, as well as the social memories and metaphors it carries. Glass, stone, and fabric each have their own distinct qualities, but all can become its own language. For me, then, materials are not simply tools of expression, they also work alongside me, gradually shaping the direction of the work.

這次創作大量使用西裝布料，它承載著什麼社會隱喻？ 

西裝讓人看起來端正，卻也隱藏了人們真實的情感與身分認同。因此，這些西裝布料象徵著社會期待下的角色規範。我在布料上以手工縫線進行創作，有時也會使用閃亮的線材。藉此，將個人的記憶與情感疊加在這層堅固的社會框架之上，讓這些西裝布料既象徵著社會規範，也揭開那些被隱藏的個人故事。

This time your work makes extensive use of suit fabric. What social metaphors does it carry?

A suit makes a person appear composed and collected, but it can also conceal their true emotions and sense of identity. For me, the suit fabric therefore symbolizes the roles and expectations imposed by society. I work into the fabric with hand stitching, sometimes using threads with a subtle sheen. In doing so, I layer personal memories and emotions onto this rigid social framework, allowing the suit fabric to embody social conventions while also revealing the personal stories hidden beneath them.

童年的紙娃娃到《The Name Folded Away》，如何重新打開曾被摺藏的情感？

玩紙娃娃是童年時期愉快的記憶，把它們剪下、更換衣服，沉浸在自己的想像世界。然而，在成長的社會氛圍中，男孩玩著被視為女孩玩具的紙娃娃，並不容易被接受。因此那些感受也難以言喻。如今，重新回溯這段記憶，透過作品中所描繪的紙娃娃輪廓，不單純是對過去的懷念，也是重新理解，並接納那個長久以來無法說出口的秘密。

From childhood paper dolls to The Name Folded Away, how do you reopen emotions that were once folded away?

Playing with paper dolls was a happy childhood memory, cutting them out, changing their clothes, and immersing myself in a world of my own imagination. Yet growing up in a social environment where paper dolls were seen as girls’ toys, it was not easy for a boy to play with them. As a result, those feelings were difficult to put into words. Looking back on this memory today, the paper doll silhouettes depicted in the work are not simply a way of reminiscing about the past, but also a way of understanding and accepting a secret that had remained unspoken for so long.

孩子的手寫字跡，改變了大人閱讀文字的方式？

作品中所選擇的句子，來自酷兒電影與文學，並借用孩子們的手寫字跡。當孩子不帶偏見地寫下這些文字，使句子不再是主張，而成為一種單純的痕跡或圖像。我也觀察到，當這些文字由純真的孩子們寫下時，原本可能令人悲傷的句子，也因為字跡本身的活潑與愉快，可能被閱讀出完全不同的情感。

How does children’s handwriting change the way adults read words?

The sentences selected for the work come from queer films and literature, and are written in children’s handwriting. When children write these words without prejudice, the sentences are no longer statements, but become simple traces or images. 

I have also noticed that when these words are written by innocent children, sentences that might otherwise seem sad can be read with entirely different emotions because of the liveliness and joyfulness of the handwriting itself.

當談論酷兒的空間變得更多，對未來的社會還有什麼想像？

與我成長時期相比，現在能夠談論酷兒議題、與酷兒相遇的空間，確實變得更加多元與開放。但同時，偏見與歧視依然存在，許多人仍然無法輕易說出自己的故事。我希望未來的社會，不再將「酷兒」視為一種需要被特別對待或消費的身分 ，而是自然地尊重每一個人的生活與情感。我也相信，藝術可以成為促成對話的小契機，這也是我持續創作的原因之一。

As spaces for talking about queerness become more common, what do you imagine for society in the future?

Compared with when I was growing up, there are certainly more diverse and open spaces today for talking about queer issues and encountering queer experiences. At the same time, prejudice and discrimination still exist, and many people still find it difficult to tell their own stories openly. I hope that in the future, society will no longer see “queer” as an identity that needs to be treated differently or consumed, but will instead naturally respect each person’s life and emotions. I also believe that art can be a small trigger for dialogue, and that is one of the reasons I continue to make art.

希望觀眾離開作品時，心裡留下什麼？

即使文化背景不同，只要我們共同生活在同一個時代，情感與記憶仍然可以彼此連結。因此，希望我的作品不只是被放在「酷兒」這個狹窄的脈絡中閱讀，而是能夠成為一個更寬廣的契機，讓每個人想起自己的經驗與記憶。期待觀眾能夠在作品面前，安靜地與自己的故事相遇，並讓不同的生命經驗，在共感中產生找到回應。

What do you hope stays in viewers’ hearts after they encounter your work?

Even when our cultural backgrounds are different, as long as we live in the same era, our emotions and memories can still connect with one another. For this reason, I hope my work is not only read through the narrow context of “Queer”, but can instead become a broader opening for each person to recall their own experiences and memories. I hope viewers can quietly encounter their own stories in front of the work, allowing different lived experiences to find a response through a sense of resonance.