Artist
個人認同流動於新竹客家人與台東阿美人之間，生活方式如同在寫作一般，一連串的逗號、頓號、驚嘆號與問號勾連起他的生命文章。最近的興趣與研究為自由潛水打魚，期望透過親身參與的過程理解阿美族水底獵人的環境意識，目前也持續拍攝紀錄片中。 曾為河左岸劇團成員與科學園區半導體公司訓練副理，後進入國立清華大學人類學研究所取得博士學位，現於國立臺東大學公共與文化事務學系暨南島文化研究碩士班任教，同時是民族誌影片工作者與民族誌影展策展人，然後也不小心拍了微電影。
著有《石堆中發芽的人類學家》與《從都蘭到新幾內亞》，製作包含《阿美嘻哈》、《新大洪水》、《從新幾內亞到台北》、《高砂的翅膀》等多部紀錄片與《最靠近太陽的地方》、《有一條路》等電影短片作品。
Artwork
Lives and deaths between ebbs and flows
Video art
The Amis people of the coastal areas have maintained a tightly knitted relationship with the ocean, and this co-existence helps both humans and the ocean to mutually define each other. An intertidal zone is such a place where the Amis people interact with the ocean. Between the ebb and flow of the tides, there is Masia’c, an Amis word used specifically to describe a tidal phase without any equivalent Chinese translation; when the rising tide has reached its fullness and is about to retreat, schools of fish searching for food in the intertidal zone begin to panic, comes the best time for the Amis people to cast the net and catch the fish. Fish risks its life in the intertidal zone for survival, just like the Amis people gamble on their survival, casting the net with high hopes and expectations. In the end, either the fish dies or the humans survive. Masia’c is basically a gigantic marine casino interwoven with various forms of life and death, opportunities and luck, excitement and losses. As the villages located in the peripheral regions of the dominating society, the relationship between the villages and major cities is similar to the intertidal zones and the ocean. Just like some Amis people who dwell in the sea of the urban areas return to the intertidal zone in villages during specific seasons to take up cultural nutrients, when their time is up, they must leave the village and return to the sea of the urban areas. Indeed, some youngsters may be captured by cultural traps and stay, however, will these youngsters who came to the intertidal zone and stayed make it or will they gradually die out?
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