吳聯吟 Lien-Yin Wu

《間奏》Interlude
創作材料 Material：回收廢鐵 Recycled Scrap Metal
年代 Year：2026

《間奏》以船艙舷窗、船體排水孔與山海交界的天然洞穴為創作發想，探討「洞穴」作為空間媒介的多重意義。洞既是內與外、光與影、實體與虛空之間的界面，也是光線、空氣、水流與視線穿越的通道，承載著流動、轉換與連結的可能。

材質選擇以鏽蝕鋼板為主要媒介，保留鋼鐵經歲月侵蝕所留下的肌理與色澤，訴說著勞動、航行與城市發展的故事。而船艙曲面與船體結構語彙，使鋼鐵不僅象徵造船產業與港灣文化，也成為連結海洋、島嶼、港口與自然環境的重要媒介。

作品同時藉由鋼板的遮蔽與孔洞的穿透，在封閉與開放、阻隔與連結之間建立微妙的平衡。原本連續的觀看經驗被短暫切斷，而遠方的風景又透過孔洞重新顯現，使觀者在不斷轉換的觀看方式中，重新思考人與環境、工業與自然、內部與外部之間並非對立，而是持續流動、相互滲透的關係。

此件作品不僅是一件雕塑作品，更邀請觀者透過身體的移動與視線的穿越，在港灣風景與鋼鐵構築之間，重新發現那些平時容易被忽略的連結，感受高雄作為港口城市所蘊含的歷史記憶、空間詩意與持續變動的生命力。

"Interlude" draws inspiration from ship portholes, drainage openings in ship hulls, and natural caves found where mountains meet the sea, exploring the multiple meanings of the “cave” as a spatial medium. A cave forms an interface between inside and outside, light and shadow, solid and void, while also serving as a passage through which light, air, water, and sight can travel—opening possibilities for movement, transition, and connection.

Weathered steel plate serves as the primary material, preserving the textures and tones shaped by time and corrosion, while evoking stories of labor, navigation, and urban development. The curved surfaces and structural language of ship hulls further transform steel into more than a symbol of shipbuilding and harbor culture; it becomes a medium connecting the ocean, islands, ports, and the natural environment.

Through the interplay between the opacity of steel plates and the permeability of openings, the work establishes a subtle balance between enclosure and openness, separation and connection. The continuity of vision is momentarily interrupted, only for distant landscapes to reappear through the openings. As viewers shift their perspectives, they are invited to reconsider the relationships between people and environment, industry and nature, interior and exterior—not as opposites, but as conditions in constant flow and mutual interpenetration.

More than a sculptural object, the work invites viewers to move around it and look through it, rediscovering connections that often go unnoticed between the harbor landscape and the steel structure. Through this embodied experience, the work evokes the historical memory, spatial poetry, and ever-changing vitality of Kaohsiung as a port city.