#: locale=en
## Hotspot
### Text
QuadHotspotPanoramaOverlayTextImage_352FB4F3_1A58_308D_4150_D579F380D342.text = 品管 \
\
Quality Control
QuadHotspotPanoramaOverlayTextImage_2A1CED39_1A68_51FD_41AC_213337F74245.text = 好想回家 \
\
Boring
QuadHotspotPanoramaOverlayTextImage_35519FA9_1A79_D09D_4198_3C210D6246F7.text = 好想回家 \
\
Boring
QuadHotspotPanoramaOverlayTextImage_356C140B_1A68_579D_41A5_B38689725DDF.text = 媽媽你看-1 \
\
Mom! Look! -1
QuadHotspotPanoramaOverlayTextImage_2A583355_1A68_51B5_416D_62EB16DC1174.text = 媽媽你看-2 \
\
Mom! Look! -2
QuadHotspotPanoramaOverlayTextImage_2A3D6554_1A68_318B_41A8_610F42C2364B.text = 我看看 \
\
Let me see
QuadHotspotPanoramaOverlayTextImage_2A0236F5_1A68_3075_41B1_F514E824B524.text = 我要自己！ \
\
By myself
QuadHotspotPanoramaOverlayTextImage_2A968933_1A78_518D_4192_3C7F19543F4F.text = 流水席 \
\
Wedding Party
QuadHotspotPanoramaOverlayTextImage_3452C75D_1A68_D1B5_41AE_1F2EA8566903.text = 流水席 \
\
Wedding Party
QuadHotspotPanoramaOverlayTextImage_2AD66AEE_1A69_D097_41A4_73AF864F1A04.text = 瓜子 \
\
Melon Seeds
QuadHotspotPanoramaOverlayTextImage_2AFFED35_1A78_51F5_4179_135C705989F1.text = 維鵲有巢 \
\
Wedding Banquet
QuadHotspotPanoramaOverlayTextImage_34633DF2_1A6B_F08F_41B8_293D2F9A6BA9.text = 蝦爆的宴席 \
\
Wedding Banquet with many Spiny Lobsters.
QuadHotspotPanoramaOverlayTextImage_35E49CDD_1A78_D0B5_4193_D43A30D7D9C7.text = 蝦爆的宴席 \
\
Wedding Banquet with many Spiny Lobsters.
QuadHotspotPanoramaOverlayTextImage_283446A2_1A68_F08F_418B_26E0C5B64D08.text = 蝦霸 \
\
Lobster
QuadHotspotPanoramaOverlayTextImage_34607DED_1A6B_F095_41B7_027EF498DBF2.text = 蝦霸 \
\
Lobster
QuadHotspotPanoramaOverlayTextImage_2A20DE32_1A78_338F_41B6_FC6E35DC2EC4.text = 蟹蟹 \
\
Thank you
QuadHotspotPanoramaOverlayTextImage_35520B67_1A78_5195_41B2_DA18C722C93E.text = 蟹蟹 \
\
Thank you
QuadHotspotPanoramaOverlayTextImage_3539C295_1A6B_D0B5_41B4_E803DA00C269.text = 要公平 \
\
Fair
QuadHotspotPanoramaOverlayTextImage_354026EB_1A78_709D_4182_E63A811148D7.text = 魚眼睛 \
\
Fish Eye
QuadHotspotPanoramaOverlayTextImage_3453175F_1A68_D1B5_41AC_61C37B3DB329.text = 魚眼睛 \
\
Fish Eye
## Media
### Floorplan
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### Title
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## Skin
### Image
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### Multiline Text
HTMLText_0043AA09_1558_E494_41B0_C7368F444031_mobile.html = 「謝謝各位的到來，謝謝謝謝。」大螃蟹很有誠意地讓大家享用美食，有種無名的悲壯感。
“Thank you everyone for coming, thank you, thank you.” The big crab sincerely invites everyone to enjoy the feast despite a sense of nameless sadness.
一顆小可麗露要分給幾個人吃，孩子總是盯著看，是否有切公平，不然她要大的那一塊。
When a small canelé is shared among several people, the child always watches closely to ensure fairness, otherwise she demands the bigger piece.
作品以女兒把玩超市買回的蔬果形象為藍圖。她仔細端詳檢查，試著要檢查出是否有新冠病毒殘留。嚴肅專注的神情，對比女兒拿蠟筆在桌面亂畫的線條，那滑稽的樣貌令人莞爾，但對於因疫情在家辦公同時又要忙家務的媽媽來說，育兒的壓力也只能苦笑撐過。
孩子不喜歡的青椒和苦瓜，是媽媽的苦笑。苦苦的不這麼喜歡，但那咀嚼後回甘的滋味，是長大了才會懂的吧。
This work is based on an image of a daughter playing with vegetables and fruits bought from the supermarket. She carefully inspects them, trying to see if any remnants of the coronavirus remain. Her serious, focused expression is a stark contrast to her scribbles on the table with crayons. The absurdity of it all brings a smile, but for a mother juggling work from home and house chores during the pandemic, the pressure of parenting can only be endured with a bitter smile.
The green peppers and bitter gourds, which the child dislikes, reflect the mother’s bitter smile. It’s something hard to like, but the taste after chewing—perhaps that’s something one can only understand after growing up.
台灣傳統喜宴在戶外辦的流水席，人來人往、菜一道一道端上桌，在大雨淹水之下，成了真的「流水席」。龍蝦回到水裡，看起來像是投奔自然，實則已是空殼，顯得荒誕。如同喜宴上穿著華服的人們，在席間川流，實則也是其他人們討論的對象，如同食物依樣在口中咀嚼。
In Taiwan, traditional outdoor wedding banquets are often referred to as Wedding Party (流水席). As people come and go and dishes are served one after another, rain floods the venue, turning it into a true “flowing banquet (流水席).” The lobsters return to the water, seemingly seeking refuge in nature, yet in reality, they are just empty shells—further emphasizing the absurdity of the scene. The same goes for the guests, dressed in fine clothes, circulating among each other, only to ultimately become the subject of rumors—chewed and swallowed just like the food.
台灣流水席迎賓三寶：瓜子、花生、情人糖。配上洋紅色的衛生紙，美耐皿的餐具，說不上有質感，但也不至於太難看。
等開席是最無聊的，些許忐忑旁邊會坐著不想一起坐一桌的人，奈何這一餐還是得圍著一桌尬聊，這時我會裝忙把衛生紙摺成紙鶴。
In Taiwan, the traditional welcome treats at a Wedding Party include melon seeds, peanuts, and love candies served with magenta tissue paper and melamine dinnerware—there's nothing special, but its not unpleasant either.
Waiting for the meal to begin is the most tedious part. You, feeling abit uneasy, sit next to someone you’d rather not share a table with, but still have to awkwardly conversely with. At this moment, I fold the tissue paper into a crane to pass time.
小孩會叫媽媽以後，會在家裡叫一百多次的「媽媽」，不管是有需要幫忙，還是興奮想分享事情。這個圖是有聲音的。
Once a child learns to say “Mom,” that child will do it over a hundred times at home, whether asking for help or excited to share something. This picture has sound.
小孩會叫媽媽以後，會在家裡叫一百多次的「媽媽」，不管是有需要幫忙，還是興奮想分享事情。這個圖是有聲音的。
Once a child learns to say “Mom,” that child will do it over a hundred times at home, whether asking for help or excited to share something. This picture has sound.
小花童大概是最疑惑的角色，莫名其妙被大人裝扮著可愛的澎澎裙，被大力讚美著，但是，那個穿新娘服的人到底是誰？她大概也不清楚。
被強迫進入這場宴席的人，如坐針氈等待時間過去。兩眼無神，體驗凝視從「我看」到「我看到我在看」，抽離自我的神遊。突然好似可以跟那桌上的龍蝦對話，嘿，妳跟我一樣啊！一樣被迫擺在這，一樣被咀嚼、被討論、被品頭論足。
啊。好想回家。
The flower girl is probably the most confused character as she is inexplicably dressed in a fluffy skirt, praised by adults, yet does not know who the bride is.
Forced into this banquet, she sits uncomfortably waiting for time to pass. With listless eyes, she embarks on a journey from “I’m watching” to “I realize I’m watching myself.” She seems to converse with the lobsters on the table: “Hey, you and I are the same! We’re both forced to be here, chewed, discussed, and judged.”
Ah, I want to go home.
放大鏡的有趣角度，也如孩子的視角一樣不同於大人。
The magnifying glass offers an interesting perspective - like the perspective of a child which is so different from that of an adult.
明明還不會擠牙膏，就是要搶著：「我要自己！」然後擠爆，牙膏剩半條。
孩子就是根本還沒準備好就急著要長大。
想想自己也是這樣長大的，就是默默收拾乾淨，提醒她下次擠牙膏小心一點。
Even though the child doesn’t know how to squeeze toothpaste properly, the child insists, “I want to do it myself!” and end up squeezing out a good half tube.
Children are eager to grow up before they are ready.
I think back to when I was like that, quietly cleaning up after her, reminding her to be careful next time when squeezing toothpaste.
看著囍宴紅辣辣桌布上放的一盤瓜子，油然而生的憐憫投射，我們也如這盤瓜子一樣，也是其他人茶餘飯後咀嚼的對象，在清脆地喀響後，成為一地殘破的碎殼。
Looking at the plate of melon seeds on the bright red banquet cloth, I feel a wave of compassion. Like these melon seeds, we too are objects for others to gossip about, becoming broken shells after the gossiping and crunching.
賈寶玉說：「女孩兒未出嫁，是顆無價之寶珠；出了嫁，不知怎麼就變出許多的不好的毛病來，雖是顆珠子，卻沒有光彩寶色，是顆死珠了；再老了，更變的不是珠子，竟是魚眼睛了。分明一個人，怎麼變出三樣來?」
宴席上端出一尾一尾的預言，娓娓道出寶珠最後終將成為魚眼睛的結局。
Pao-yu Chia once said, “A girl before marriage is an invaluable pearl. After marriage, for some reason, she develops many flaws. Though she’s still a pearl, she loses her luster and color to become a dead pearl. As she grows older, she is no longer a pearl, but rather, fish eyes. How can one person transform into three different things?”
At the banquet, guests are served a series of predictions, calmly recounting how the precious pearl inevitably ends up as fish eyes.
這場宴席籌備已久，歡愉地鋪上豔紅的布匹，鳥兒在上頭囍吱吱地喧嘩著。
超蝦的牠們乘著小船，徜徉在紅通通的長河中，神氣的揮手：「吃我！吃我！」而我在等你開飯的時候睡著了，就像等待上桌的小母雞，無私地敞露最柔軟的鮮嫩給你，準備成為他們所期許的「大人」。
喜宴是一個大型的社交場合，在這樣的場合中，親友或熟稔或生疏，都齊聚一堂，聊著彼此的現況，探究他人的私事。龍蝦是宴客時拿出來很派頭的食材，顯示出請客者的大方。看著那硬而尖銳的龍蝦殼，咀嚼著柔軟的龍蝦肉，如同碎嘴著他人的隱私，那樣毫無功能的武裝，最後跟著這場宴席一起下飯。
畫面中待宰的雞與等待中睡著的女童，遙遙呼應著相同的命運，在這場宴席上同樣是被咀嚼下飯的角色。那一桌桌的龍蝦更顯得荒誕可笑，或許大人的聚會就是這樣吧。
This banquet, in planning for a long time, is joyfully laid out with bright red cloth as birds chirp excitedly overhead.
The oversized lobsters, arriving on little boats, leisurely drifting along the crimson river as they wave their pincers enthusiastically: “Eat me! Eat me!” Meanwhile, while waiting for dinner, I doze off like a little hen awaiting its fate—offering up its softest, most tender meat without resistance, to become the “adult” that others expect me to be.
A wedding banquet is a large social gathering where both close and distant relatives come together to chat about their lives and pry into each other’s personal affairs. Lobsters, a fancy dish, are brought out to showcase the host’s generosity. The hard, spiny lobster shells may look tough and hardy, but in the end, they’re just for show—much like the illusion of privacy at the banquet. As everyone tucks into the lobster’s tender meat, so too are whispered secrets shared and partaken in without a second thought.
The chickens awaiting slaughter and the sleepy little girl reflect the same fate: being consumed and discarded in this banquet. The numerous lobsters only add to the absurdity, perhaps capturing what adult gatherings truly are.
龍蝦和烏魚子是這場宴席的指標，代表這桌菜的價位等級。那神氣昂昂的龍蝦頭，被漂亮擺放在中間，所有的尖銳的武裝，如同這場宴席穿著華服的人們，努力展現自己最好的一面，不過也是被彼此咀嚼碎嘴的對象罷了，顯得這麽蒼白無力。
Lobsters and mullet roe are symbols of this banquet, representing the price tier of the meal. The proud lobster head is beautifully placed at the center, its sharp armor, much like the elegantly dressed guests, trying to show their best side, but ultimately becoming objects to be chewed over and talked about by others—a mere emphasis of how pale and powerless they are.
關於本展 About the Exhibition
此次展出作品包含喜宴系列（赤），以及創作者在成為母親之後對於孩子（子）與身邊事物的關照。「赤子」除了取用詞意中天真無邪、純真的意涵，也巧妙的將兩個主題合而為一。
這兩主題可以以作品「好想回家」與「品管」作為一個分界。在「好想回家」中，創作者將自己投射是眼神呆滯的女童，無奈這觥籌交錯的應酬場合。而在「品管」中則是桌上的一抹苦笑，在成為一個「大人」（母親）之後的無奈。這兩者心境最大的差異，是在成為母親後的社會責任，不能繼續裝作是個孩子，但能學習欣賞孩子，也欣賞曾經是孩子的自己。
The exhibited works include the Banquet Series (喜宴系列) (Red), alongside the artist’s reflections on her children (child) and the world around her after becoming a mother.
These two themes are explored through works such as “Boring” and “Quality Control.” In “Boring,” the artist portrays herself as a vacant-eyed little girl helpless amidst a social gathering full of toasts. In “Quality Control,” a bittersweet smile captures the helplessness after becoming an “adult” (mother). The key difference between the two works lies in the social responsibilities that come with motherhood. One can no longer pretend to be a child, but can learn to appreciate both children and the child they once were.
These works (such as the Banquet Series (喜宴系列)) often carry a subtle sadness, yet are always packaged in humor and sweetness. It is only by maintaining a childlike heart that one can navigate the challenges of daily life.
關於創作者 About the Artist
葉采薇，生於新竹。臺北藝術大學美術系碩士，現為藝術家、臺北藝術大學美術學院兼任講師。創作主軸圍繞個人記憶中的場景及內在投射，敏感且細膩地經營畫面中的情感元素，運用水墨膠彩等媒材，在溫潤和諧的畫面中顯露出對過去記憶情感的不捨與哀悼，透露出對未來期待與懷疑的矛盾。曾獲高雄獎水墨膠彩組入選(2015、2017)，作品獲國美館及藝術銀行典藏。
Tsai-wei Yeh, born in Hsinchu, holds a master’s degree from the School of Fine Arts at Taipei National University of the Arts and is currently an artist and adjunct lecturer at the same institution. Yeh’s artistic focus revolves around personal memories and inner projections and the sensitive handling of emotional elements in her work. Using materials like ink and watercolor, her paintings subtly reveal a sense of attachment and mourning for the past, while expressing contradictions between expectations and doubts about the future. Yeh has been nominated for the Kaohsiung Award in ink and watercolor (2015, 2017) and her works are collected by the National Taiwan Museum of Fine Arts and Art Bank Taiwan.
蝦爆的宴席 Wedding banquet with
many spiny lobsters
90×180 cm Eastern gouache on paper
紙本膠彩 2018
這場宴席籌備已久，歡愉地鋪上豔紅的布匹，鳥兒在上頭囍吱吱地喧嘩著。
超蝦的牠們乘著小船，徜徉在紅通通的長河中，神氣的揮手：「吃我！吃我！」而我在等你開飯的時候睡著了，就像等待上桌的小母雞，無私地敞露最柔軟的鮮嫩給你，準備成為他們所期許的「大人」。
喜宴是一個大型的社交場合，在這樣的場合中，親友或熟稔或生疏，都齊聚一堂，聊著彼此的現況，探究他人的私事。龍蝦是宴客時拿出來很派頭的食材，顯示出請客者的大方。看著那硬而尖銳的龍蝦殼，咀嚼著柔軟的龍蝦肉，如同碎嘴著他人的隱私，那樣毫無功能的武裝，最後跟著這場宴席一起下飯。
畫面中待宰的雞與等待中睡著的女童，遙遙呼應著相同的命運，在這場宴席上同樣是被咀嚼下飯的角色。那一桌桌的龍蝦更顯得荒誕可笑，或許大人的聚會就是這樣吧。
This banquet, in planning for a long time, is joyfully laid out with bright red cloth as birds chirp excitedly overhead.
The oversized lobsters, arriving on little boats, leisurely drifting along the crimson river as they wave their pincers enthusiastically: “Eat me! Eat me!” Meanwhile, while waiting for dinner, I doze off like a little hen awaiting its fate—offering up its softest, most tender meat without resistance, to become the “adult” that others expect me to be.
A wedding banquet is a large social gathering where both close and distant relatives come together to chat about their lives and pry into each other’s personal affairs. Lobsters, a fancy dish, are brought out to showcase the host’s generosity. The hard, spiny lobster shells may look tough and hardy, but in the end, they’re just for show—much like the illusion of privacy at the banquet. As everyone tucks into the lobster’s tender meat, so too are whispered secrets shared and partaken in without a second thought.
The chickens awaiting slaughter and the sleepy little girl reflect the same fate: being consumed and discarded in this banquet. The numerous lobsters only add to the absurdity, perhaps capturing what adult gatherings truly are.
關於本展 About the Exhibition
此次展出作品包含喜宴系列（赤），以及創作者在成為母親之後對於孩子（子）與身邊事物的關照。「赤子」除了取用詞意中天真無邪、純真的意涵，也巧妙的將兩個主題合而為一。
這兩主題可以以作品「好想回家」與「品管」作為一個分界。在「好想回家」中，創作者將自己投射是眼神呆滯的女童，無奈這觥籌交錯的應酬場合。而在「品管」中則是桌上的一抹苦笑，在成為一個「大人」（母親）之後的無奈。這兩者心境最大的差異，是在成為母親後的社會責任，不能繼續裝作是個孩子，但能學習欣賞孩子，也欣賞曾經是孩子的自己。
The exhibited works include the Banquet Series (喜宴系列) (Red), alongside the artist’s reflections on her children (child) and the world around her after becoming a mother.
These two themes are explored through works such as “Boring” and “Quality Control.” In “Boring,” the artist portrays herself as a vacant-eyed little girl helpless amidst a social gathering full of toasts. In “Quality Control,” a bittersweet smile captures the helplessness after becoming an “adult” (mother). The key difference between the two works lies in the social responsibilities that come with motherhood. One can no longer pretend to be a child, but can learn to appreciate both children and the child they once were.
These works (such as the Banquet Series (喜宴系列)) often carry a subtle sadness, yet are always packaged in humor and sweetness. It is only by maintaining a childlike heart that one can navigate the challenges of daily life.
關於創作者 About the Artist
葉采薇，生於新竹。臺北藝術大學美術系碩士，現為藝術家、臺北藝術大學美術學院兼任講師。創作主軸圍繞個人記憶中的場景及內在投射，敏感且細膩地經營畫面中的情感元素，運用水墨膠彩等媒材，在溫潤和諧的畫面中顯露出對過去記憶情感的不捨與哀悼，透露出對未來期待與懷疑的矛盾。曾獲高雄獎水墨膠彩組入選(2015、2017)，作品獲國美館及藝術銀行典藏。
Tsai-wei Yeh, born in Hsinchu, holds a master’s degree from the School of Fine Arts at Taipei National University of the Arts and is currently an artist and adjunct lecturer at the same institution. Yeh’s artistic focus revolves around personal memories and inner projections and the sensitive handling of emotional elements in her work. Using materials like ink and watercolor, her paintings subtly reveal a sense of attachment and mourning for the past, while expressing contradictions between expectations and doubts about the future. Yeh has been nominated for the Kaohsiung Award in ink and watercolor (2015, 2017) and her works are collected by the National Taiwan Museum of Fine Arts and Art Bank Taiwan.
關於本展 About the Exhibition
此次展出作品包含喜宴系列（赤），以及創作者在成為母親之後對於孩子（子）與身邊事物的關照。「赤子」除了取用詞意中天真無邪、純真的意涵，也巧妙的將兩個主題合而為一。
這兩主題可以以作品「好想回家」與「品管」作為一個分界。在「好想回家」中，創作者將自己投射是眼神呆滯的女童，無奈這觥籌交錯的應酬場合。而在「品管」中則是桌上的一抹苦笑，在成為一個「大人」（母親）之後的無奈。這兩者心境最大的差異，是在成為母親後的社會責任，不能繼續裝作是個孩子，但能學習欣賞孩子，也欣賞曾經是孩子的自己。
The exhibited works include the Banquet Series (喜宴系列) (Red), alongside the artist’s reflections on her children (child) and the world around her after becoming a mother.
These two themes are explored through works such as “Boring” and “Quality Control.” In “Boring,” the artist portrays herself as a vacant-eyed little girl helpless amidst a social gathering full of toasts. In “Quality Control,” a bittersweet smile captures the helplessness after becoming an “adult” (mother). The key difference between the two works lies in the social responsibilities that come with motherhood. One can no longer pretend to be a child, but can learn to appreciate both children and the child they once were.
These works (such as the Banquet Series (喜宴系列)) often carry a subtle sadness, yet are always packaged in humor and sweetness. It is only by maintaining a childlike heart that one can navigate the challenges of daily life.
關於創作者 About the Artist
葉采薇，生於新竹。臺北藝術大學美術系碩士，現為藝術家、臺北藝術大學美術學院兼任講師。創作主軸圍繞個人記憶中的場景及內在投射，敏感且細膩地經營畫面中的情感元素，運用水墨膠彩等媒材，在溫潤和諧的畫面中顯露出對過去記憶情感的不捨與哀悼，透露出對未來期待與懷疑的矛盾。曾獲高雄獎水墨膠彩組入選(2015、2017)，作品獲國美館及藝術銀行典藏。
Tsai-wei Yeh, born in Hsinchu, holds a master’s degree from the School of Fine Arts at Taipei National University of the Arts and is currently an artist and adjunct lecturer at the same institution. Yeh’s artistic focus revolves around personal memories and inner projections and the sensitive handling of emotional elements in her work. Using materials like ink and watercolor, her paintings subtly reveal a sense of attachment and mourning for the past, while expressing contradictions between expectations and doubts about the future. Yeh has been nominated for the Kaohsiung Award in ink and watercolor (2015, 2017) and her works are collected by the National Taiwan Museum of Fine Arts and Art Bank Taiwan.
關於本展 About the Exhibition
此次展出作品包含喜宴系列（赤），以及創作者在成為母親之後對於孩子（子）與身邊事物的關照。「赤子」除了取用詞意中天真無邪、純真的意涵，也巧妙的將兩個主題合而為一。
這兩主題可以以作品「好想回家」與「品管」作為一個分界。在「好想回家」中，創作者將自己投射是眼神呆滯的女童，無奈這觥籌交錯的應酬場合。而在「品管」中則是桌上的一抹苦笑，在成為一個「大人」（母親）之後的無奈。這兩者心境最大的差異，是在成為母親後的社會責任，不能繼續裝作是個孩子，但能學習欣賞孩子，也欣賞曾經是孩子的自己。
The exhibited works include the Banquet Series (喜宴系列) (Red), alongside the artist’s reflections on her children (child) and the world around her after becoming a mother.
These two themes are explored through works such as “Boring” and “Quality Control.” In “Boring,” the artist portrays herself as a vacant-eyed little girl helpless amidst a social gathering full of toasts. In “Quality Control,” a bittersweet smile captures the helplessness after becoming an “adult” (mother). The key difference between the two works lies in the social responsibilities that come with motherhood. One can no longer pretend to be a child, but can learn to appreciate both children and the child they once were.
These works (such as the Banquet Series (喜宴系列)) often carry a subtle sadness, yet are always packaged in humor and sweetness. It is only by maintaining a childlike heart that one can navigate the challenges of daily life.
關於創作者 About the Artist
葉采薇，生於新竹。臺北藝術大學美術系碩士，現為藝術家、臺北藝術大學美術學院兼任講師。創作主軸圍繞個人記憶中的場景及內在投射，敏感且細膩地經營畫面中的情感元素，運用水墨膠彩等媒材，在溫潤和諧的畫面中顯露出對過去記憶情感的不捨與哀悼，透露出對未來期待與懷疑的矛盾。曾獲高雄獎水墨膠彩組入選(2015、2017)，作品獲國美館及藝術銀行典藏。
Tsai-wei Yeh, born in Hsinchu, holds a master’s degree from the School of Fine Arts at Taipei National University of the Arts and is currently an artist and adjunct lecturer at the same institution. Yeh’s artistic focus revolves around personal memories and inner projections and the sensitive handling of emotional elements in her work. Using materials like ink and watercolor, her paintings subtly reveal a sense of attachment and mourning for the past, while expressing contradictions between expectations and doubts about the future. Yeh has been nominated for the Kaohsiung Award in ink and watercolor (2015, 2017) and her works are collected by the National Taiwan Museum of Fine Arts and Art Bank Taiwan.
品管 Quality Control
115x67 cm Eastern gouache on paper
紙本膠彩 2021
品管 Quality Control
115x67 cm Eastern gouache on paper
紙本膠彩 2021
作品以女兒把玩超市買回的蔬果形象為藍圖。她仔細端詳檢查，試著要檢查出是否有新冠病毒殘留。嚴肅專注的神情，對比女兒拿蠟筆在桌面亂畫的線條，那滑稽的樣貌令人莞爾，但對於因疫情在家辦公同時又要忙家務的媽媽來說，育兒的壓力也只能苦笑撐過。
孩子不喜歡的青椒和苦瓜，是媽媽的苦笑。苦苦的不這麼喜歡，但那咀嚼後回甘的滋味，是長大了才會懂的吧。
This work is based on an image of a daughter playing with vegetables and fruits bought from the supermarket. She carefully inspects them, trying to see if any remnants of the coronavirus remain. Her serious, focused expression is a stark contrast to her scribbles on the table with crayons. The absurdity of it all brings a smile, but for a mother juggling work from home and house chores during the pandemic, the pressure of parenting can only be endured with a bitter smile.
The green peppers and bitter gourds, which the child dislikes, reflect the mother’s bitter smile. It’s something hard to like, but the taste after chewing—perhaps that’s something one can only understand after growing up.
喜宴系列介紹
喜宴是一個大型的社交場合，在這樣的場合中，親友或熟稔或生疏，都齊聚一堂，聊著彼此的現況，探究他人的私事。人們精心打扮後赴宴，像是在與人較勁，證明自己的優越。卻是如桌上的龍蝦一樣，尖銳的武裝顯得蒼白而荒謬，自己不過是別人茶餘飯後碎嘴的殘殼。
A wedding banquet is a large social gathering where both close and distant relatives come together to chat about their lives and pry into each other’s personal affairs. People dress meticulously for the occasion, as if competing to prove their superiority. Yet, like the lobster on the table, their sharp armor appears pale and absurd—nothing more than an empty shell for others to gossip about after the feast.
喜宴系列介紹
喜宴是一個大型的社交場合，在這樣的場合中，親友或熟稔或生疏，都齊聚一堂，聊著彼此的現況，探究他人的私事。人們精心打扮後赴宴，像是在與人較勁，證明自己的優越。卻是如桌上的龍蝦一樣，尖銳的武裝顯得蒼白而荒謬，自己不過是別人茶餘飯後碎嘴的殘殼。
A wedding banquet is a large social gathering where both close and distant relatives come together to chat about their lives and pry into each other’s personal affairs. People dress meticulously for the occasion, as if competing to prove their superiority. Yet, like the lobster on the table, their sharp armor appears pale and absurd—nothing more than an empty shell for others to gossip about after the feast.
好想回家 Boring
47x47 cm Eastern gouache on silk
紙本膠彩 2018
好想回家 Boring
47x47 cm Eastern gouache on silk
紙本膠彩 2018
小花童大概是最疑惑的角色，莫名其妙被大人裝扮著可愛的澎澎裙，被大力讚美著，但是，那個穿新娘服的人到底是誰？她大概也不清楚。
被強迫進入這場宴席的人，如坐針氈等待時間過去。兩眼無神，體驗凝視從「我看」到「我看到我在看」，抽離自我的神遊。突然好似可以跟那桌上的龍蝦對話，嘿，妳跟我一樣啊！一樣被迫擺在這，一樣被咀嚼、被討論、被品頭論足。
啊。好想回家。
The flower girl is probably the most confused character as she is inexplicably dressed in a fluffy skirt, praised by adults, yet does not know who the bride is.
Forced into this banquet, she sits uncomfortably waiting for time to pass. With listless eyes, she embarks on a journey from “I’m watching” to “I realize I’m watching myself.” She seems to converse with the lobsters on the table: “Hey, you and I are the same! We’re both forced to be here, chewed, discussed, and judged.”
Ah, I want to go home.
媽媽你看-1 Mom! Look! -1
21x29 cm Eastern gouache on paper
紙本膠彩 2022
媽媽你看-1 Mom! Look! -1
21x29 cm Eastern gouache on paper
紙本膠彩 2022
小孩會叫媽媽以後，會在家裡叫一百多次的「媽媽」，不管是有需要幫忙，還是興奮想分享事情。這個圖是有聲音的。
Once a child learns to say “Mom,” that child will do it over a hundred times at home, whether asking for help or excited to share something. This picture has sound.
媽媽你看-2 Mom! Look! -2
21x29 cm Eastern gouache on paper
紙本膠彩 2022
媽媽你看-2 Mom! Look! -2
21x29 cm Eastern gouache on paper
紙本膠彩 2022
小孩會叫媽媽以後，會在家裡叫一百多次的「媽媽」，不管是有需要幫忙，還是興奮想分享事情。這個圖是有聲音的。
Once a child learns to say “Mom,” that child will do it over a hundred times at home, whether asking for help or excited to share something. This picture has sound.
我看看 Let me see
29x21 cm Eastern gouache on paper
紙本膠彩 2023
我看看 Let me see
29x21 cm Eastern gouache on paper
紙本膠彩 2023
放大鏡的有趣角度，也如孩子的視角一樣不同於大人。
The magnifying glass offers an interesting perspective - like the perspective of a child which is so different from that of an adult.
我要自己！By myself
42x31 cm Eastern gouache on silk
紙本膠彩 2023
我要自己！By myself
42x31 cm Eastern gouache on silk
紙本膠彩 2023
明明還不會擠牙膏，就是要搶著：「我要自己！」然後擠爆，牙膏剩半條。
孩子就是根本還沒準備好就急著要長大。
想想自己也是這樣長大的，就是默默收拾乾淨，提醒她下次擠牙膏小心一點。
Even though the child doesn’t know how to squeeze toothpaste properly, the child insists, “I want to do it myself!” and end up squeezing out a good half tube.
Children are eager to grow up before they are ready.
I think back to when I was like that, quietly cleaning up after her, reminding her to be careful next time when squeezing toothpaste.
流水席 Wedding Party
90x180 cm Eastern gouache on paper
紙本膠彩 2018
流水席 Wedding Party
90x180 cm Eastern gouache on paper
紙本膠彩 2018
台灣傳統喜宴在戶外辦的流水席，人來人往、菜一道一道端上桌，在大雨淹水之下，成了真的「流水席」。龍蝦回到水裡，看起來像是投奔自然，實則已是空殼，顯得荒誕。如同喜宴上穿著華服的人們，在席間川流，實則也是其他人們討論的對象，如同食物依樣在口中咀嚼。
In Taiwan, traditional outdoor wedding banquets are often referred to as Wedding Party (流水席). As people come and go and dishes are served one after another, rain floods the venue, turning it into a true “flowing banquet (流水席).” The lobsters return to the water, seemingly seeking refuge in nature, yet in reality, they are just empty shells—further emphasizing the absurdity of the scene. The same goes for the guests, dressed in fine clothes, circulating among each other, only to ultimately become the subject of rumors—chewed and swallowed just like the food.
瓜子 Melon seeds
21x19 cm Eastern gouache on paper
紙本膠彩 2017
瓜子 Melon seeds
21x19 cm Eastern gouache on paper
紙本膠彩 2017
看著囍宴紅辣辣桌布上放的一盤瓜子，油然而生的憐憫投射，我們也如這盤瓜子一樣，也是其他人茶餘飯後咀嚼的對象，在清脆地喀響後，成為一地殘破的碎殼。
Looking at the plate of melon seeds on the bright red banquet cloth, I feel a wave of compassion. Like these melon seeds, we too are objects for others to gossip about, becoming broken shells after the gossiping and crunching.
生活系列介紹
在孩子出生後，藝術家多了一個媽媽的身份，所有的事情繞著孩子轉。這樣巨大的轉變雖是一個負擔，卻也帶藝術家重新認識曾經也是孩童的自己。
After the child was born, the artist took on the identity of a mother, and everything began to revolve around her child. This immense change, though a burden, also led her to rediscover the child she once was.
生活系列介紹
在孩子出生後，藝術家多了一個媽媽的身份，所有的事情繞著孩子轉。這樣巨大的轉變雖是一個負擔，卻也帶藝術家重新認識曾經也是孩童的自己。
After the child was born, the artist took on the identity of a mother, and everything began to revolve around her child. This immense change, though a burden, also led her to rediscover the child she once was.
維鵲有巢 Wedding banquet
88x100 cm Eastern gouache on paper
紙本膠彩 2017
維鵲有巢 Wedding banquet
88x100 cm Eastern gouache on paper
紙本膠彩 2017
台灣流水席迎賓三寶：瓜子、花生、情人糖。配上洋紅色的衛生紙，美耐皿的餐具，說不上有質感，但也不至於太難看。
等開席是最無聊的，些許忐忑旁邊會坐著不想一起坐一桌的人，奈何這一餐還是得圍著一桌尬聊，這時我會裝忙把衛生紙摺成紙鶴。
In Taiwan, the traditional welcome treats at a Wedding Party include melon seeds, peanuts, and love candies served with magenta tissue paper and melamine dinnerware—there's nothing special, but its not unpleasant either.
Waiting for the meal to begin is the most tedious part. You, feeling abit uneasy, sit next to someone you’d rather not share a table with, but still have to awkwardly conversely with. At this moment, I fold the tissue paper into a crane to pass time.
蝦爆的宴席 Wedding banquet
with many spiny lobsters
90x180 cm Eastern gouache on paper
紙本膠彩 2018
蝦霸 Lobster
70x60 cm Eastern gouache and silver foil on paper
洋箔、紙本膠彩 2017
龍蝦和烏魚子是這場宴席的指標，代表這桌菜的價位等級。那神氣昂昂的龍蝦頭，被漂亮擺放在中間，所有的尖銳的武裝，如同這場宴席穿著華服的人們，努力展現自己最好的一面，不過也是被彼此咀嚼碎嘴的對象罷了，顯得這麽蒼白無力。
Lobsters and mullet roe are symbols of this banquet, representing the price tier of the meal. The proud lobster head is beautifully placed at the center, its sharp armor, much like the elegantly dressed guests, trying to show their best side, but ultimately becoming objects to be chewed over and talked about by others—a mere emphasis of how pale and powerless they are.
蝦霸 Lobster
70x60 cm Eastern gouache and silver foil on
paper
洋箔、紙本膠彩 2017
蟹蟹 Thank you
53x65 cm Eastern gouache on paper
紙本膠彩 2018
蟹蟹 Thank you
53x65 cm Eastern gouache on paper
紙本膠彩 2018
「謝謝各位的到來，謝謝謝謝。」大螃蟹很有誠意地讓大家享用美食，有種無名的悲壯感。
“Thank you everyone for coming, thank you, thank you.” The big crab sincerely invites everyone to enjoy the feast despite a sense of nameless sadness.
要公平 Fair
31x42 cm Eastern gouache on paper
紙本膠彩 2024
要公平 Fair
31x42 cm Eastern gouache on paper
紙本膠彩 2024
一顆小可麗露要分給幾個人吃，孩子總是盯著看，是否有切公平，不然她要大的那一塊。
When a small canelé is shared among several people, the child always watches closely to ensure fairness, otherwise she demands the bigger piece.
魚眼睛 Fish Eye
60x70 cm Eastern gouache and silver foil on paper
銀箔、紙本膠彩 2017
賈寶玉說：「女孩兒未出嫁，是顆無價之寶珠；出了嫁，不知怎麼就變出許多的不好的毛病來，雖是顆珠子，卻沒有光彩寶色，是顆死珠了；再老了，更變的不是珠子，竟是魚眼睛了。分明一個人，怎麼變出三樣來?」
宴席上端出一尾一尾的預言，娓娓道出寶珠最後終將成為魚眼睛的結局。
Pao-yu Chia once said, “A girl before marriage is an invaluable pearl. After marriage, for some reason, she develops many flaws. Though she’s still a pearl, she loses her luster and color to become a dead pearl. As she grows older, she is no longer a pearl, but rather, fish eyes. How can one person transform into three different things?”
At the banquet, guests are served a series of predictions, calmly recounting how the precious pearl inevitably ends up as fish eyes.
魚眼睛 Fish Eye
60x70 cm Eastern gouache and silver foil on
paper
銀箔、紙本膠彩 2017