在臺灣駐村時，我住在日治時期的木造警察宿舍，外牆的雨淋板設計讓我聯想到馬來西亞的「華人新村」。這些新村源於1950年代英殖民政府集中安置華人而形成，與台灣的雨淋板技術相似，皆為殖民者引入，勾起了我對馬來西亞殖民歷史的興趣。

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作品《玻璃百葉窗》及《圓百葉》和《雨淋板“shiplap”》，藉由馬達摩擦發聲及船的意象，表達雨淋板從船到建築的轉變。兩作品的電線佈局呼應了馬來西亞老房子的電箱設計，探討殖民統治與「中央」控制的概念。

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During my residency in Taiwan, I lived in a wooden police dormitory built during the Japanese colonial period. The weatherboard design on the exterior walls reminded me of Malaysia’s “New Chinese Villages.” These villages originated in the 1950s when the British colonial government relocated Chinese people to centralized areas to prevent contact with the Malayan Communist Party. Similar weatherboard techniques were introduced by colonizers in both Taiwan and Malaysia, sparking my interest in Malaysia’s colonial history.

 

My works, Glass Louver Window, Round Louver, and Shiplap, use sound from motor friction and the imagery of ships to express the transition of weatherboard from ships to architecture. The electrical wires layout in the two works echoes the fuse box design of old Malaysian wooden houses, exploring the concept of colonial rule and centralized control.