翻譯：
崔永嬿 Yung-Yen TSUI
崔永嬿，1972 年生於台北，畢業於台北藝術大學美術創作研究所，是一位橫跨繪畫、雕塑與公共藝術的全方位藝術家。她擅長從多元媒材與文本出發，演繹嶄新的造型語彙，將對人性與社會的敏銳觀察，以及來自自身生命經驗的體悟，轉化為當代雕塑的美學實踐，其創作深具人文關懷。
作為台灣少數專注於金屬雕塑創作的女性藝術家，崔永嬿自 2008 年起展開《蹬蹬腳尖兒馬戲團》系列，藉由史料爬梳與古典文化的當代表述，從中國傳統器物與人物造型汲取靈感，形塑出風格鮮明、韻味獨具的虛構人物群像。她筆下的人物短小渾圓、表情細膩，搭配極具日常感的物件與符號，構築出一種荒謬中帶有溫度的幽默語境，並隱含敘事張力與文化批判。
多年來，她持續以一貫的幽默筆調，回應外在環境的劇變與內在心理的映照，其作品經常展現出張力十足的對比與矛盾：厚重如石的軀體搭配細瘦的小腳、圓潤可愛的形象下潛藏嚴肅的氣質、追求飛翔與超越的願望卻依賴脆弱如塑膠袋、竹蜻蜓的載體。在對自然與動物的關懷中，她亦思索身為地球生靈的責任與侷限，並嘗試將幽默、詼諧、自嘲與虛弱等複雜面向，融入作品之中。這種試圖超越又清楚意識到超越侷限的張力，正是崔永嬿藝術語言中最動人的矛盾魅力。
Yung-Yen TSUI , born in 1972 in Taipei, holds an MFA from the Taipei National University of the Arts. A multidisciplinary artist working across painting, sculpture, and public art, she is known for her ability to reinterpret forms through diverse materials and textual references. Drawing from her keen observations of the human condition, social realities, and personal life experiences, Tsui transforms these insights into a distinctive sculptural aesthetic infused with humanistic concern.
As one of the few female artists in Taiwan who specialize in metal sculpture, Tsui began her ongoing series Tiptoe Circus in 2008. Through extensive historical research and a contemporary reimagining of classical culture, she draws inspiration from traditional Chinese artifacts and figural motifs to create fictional, highly stylized character ensembles. Her signature figures—compact and rounded with subtly expressive features—are often paired with familiar everyday objects and bold visual symbols, weaving a whimsical yet subtly poignant narrative that resonates with both humor and cultural reflection.
Over the years, Tsui has continued to employ humor as a way to navigate external shifts and internal responses. Her works are marked by deliberate contrasts and paradoxes: solid, block-like bodies perched on tiny feet; seemingly cute and playful forms that, upon closer inspection, reveal a sober undertone; a yearning for flight and transcendence juxtaposed with fragile carriers like plastic bags and toy propellers. Deeply aware of her role as a sentient being on this planet, Tsui often integrates themes of ecological consciousness and the tension between aspiration and limitation. In her practice, humor, irony, vulnerability, and self-reflection converge—repeatedly expressing the desire to transcend, while never losing sight of the impossibility of doing so. This poetic contradiction lies at the heart of Tsui Yung-Yen’s distinctive artistic language.
登月－計劃 Ⅱ / To the Moon – Project II
《登月－計劃 Ⅱ》延續崔永嬿在《登月－計劃 I》中展開的創作脈絡——從現實的重力中尋找片刻漂浮的可能。若以《愛麗絲夢遊仙境》的敘事隱喻來理解，這是一場從忙亂日常中短暫逃逸、以幻境換取繼續生活勇氣的計畫。
作品誕生於藝術家成為母親之後的生命轉折。育兒與創作交錯、時間破碎如塵，身份在母職與藝術之間拉扯。她曾在混亂中尋求逃脫的出口，後來卻發現，創作與生活本無需劃界：一邊抱著孩子、一邊作畫或塑土，那些看似干擾的聲音與動作，正是她當下最真實的生命質地。
《登月－計劃 Ⅱ》不是遠離現實的幻想，而是在瑣碎與疲憊中持續凝視生活的回應。作品中藏著孩子的氣息、日常的紋理與母親的心緒，是在破碎時間裡重新拼湊自我的溫柔實踐，也是一場帶著溫度的「登月」行動。
To the Moon – Project II continues the thread of inquiry initiated in Project I—a search for moments of weightlessness within the gravity of daily life. Echoing the narrative spirit of Alice in Wonderland, the project explores how fleeting illusions can offer renewed courage to face reality.
These works emerged after the artist became a mother, marking a profound shift in her creative rhythm. Time splintered into fragments, scattered across the chaos of childcare, household tasks, and inner disarray. At first, she sought an escape—an opening through which to breathe. But over time, she realized that art and life need not be separate. If she could sketch while holding her child, or sculpt clay beside a playground, then these seemingly intrusive moments were not disruptions, but rather the very fabric of her present reality.
Project II is not a fantasy of escaping reality, but a quiet response—a continued gaze into life amid exhaustion and everyday fragments. Within the works are traces of a child’s breath, the textures of daily routine, and the emotional undercurrents of motherhood. It is a gentle act of piecing the self back together through fractured time—an intimate moon landing, still warm with life.
作品 Artworks
吉普賽人的都市計畫-家 I / Urban Planning for Travellers-Home I
崔永嬿 Yung-Yen TSUI｜不鏽鋼、陶 Stainless steel, pottery｜62x55x27cm ｜2025
〈吉普賽人的都市計畫－家 1〉延續崔永嬿自《登月計畫》以來對「逃逸」與「想望」的辯證思考。她借用德勒茲「逃逸路線」的概念，將逃離視為一種意識的轉換——暫時抽離日常理性與角色負荷，進入一種短暫而純粹的精神棲居。在作品中，氣球化為承載夢想的容器，內部的枝幹化身為生命的森林，小屋如願景般棲息其上。那一縷金色梯子，彷彿邀請觀者一同攀登，進入理想中的「家」之想像。這不只是逃逸的隱喻，更是對於生活的深情凝視。作為創作者與母親，崔永嬿在孩子的陪伴中重新定義「家」：它是一處漂浮於現實與夢想之間的緩衝地帶，是讓想望得以棲息、成長，甚至再次啟航的所在。
The〈Urban Planning for Travellers：Home I〉continues Tsui Yung-Yen’s dialectical exploration of “escape” and “longing” that began with her《To the Moon Project》. Drawing from Gilles Deleuze’s notion of “lines of flight,” she interprets escape not as withdrawal, but as a shift in consciousness—a temporary suspension of rational, knowledge-bound roles in favor of a fleeting, spiritual refuge. In this work, the balloon becomes a vessel of dreams; the internal branches, a forest of life; and the miniature houses, aspirations resting gently upon them. A golden ladder dangles below, beckoning viewers to ascend into the imagined realm of “home.” This is not merely a metaphor for escape, but a tender reflection on life itself. As both artist and mother, Tsui redefines “home” through the lens of shared moments with her child: a space suspended between reality and dream, where longing may dwell, take root, and lift off once again toward new horizons.
吉普賽人的都市計畫-家2 / Urban Planning for Travellers-Home II
崔永嬿 Yungyen TSUI｜不鏽鋼、陶 Stainless steel, pottery｜63x41x24 cm ｜ 2025
氣球，是一種奇妙的象徵。它承載夢想，象徵著歡慶與輕盈的升起，卻也極需小心維護——在膨脹的張力中，始終潛藏著脆弱的可能。於崔永嬿的《吉普賽人的都市計畫》系列中，以氣球為載體，承裝著生活、夢境與想望。當她成為母親，也自然而然地成為一位守護者——無論飛得多高、走得多遠，總是會回來守護著她構築出來的家庭，努力維繫的家屋。即便守護守護不易，然而只要持續的夢想和構築，便能再度吹起一個又一個的想望。崔永嬿以詩意而堅韌的語彙，讓氣球成為母職與創作、夢想與現實之間的過渡，輕盈而有力地飛翔在兩者之間。
The balloon is a curious symbol—one that carries dreams, evokes celebration, and suggests lightness and ascent, yet always harbors a quiet fragility beneath its tension. In Tsui Yung-Yen’s The Gypsies’ Urban Plan series, the balloon becomes a vessel that holds life, dreams, and longing. With motherhood, she naturally takes on the role of a guardian—no matter how high she soars or how far she ventures, she always returns to protect the home she has built, the shelter she lovingly maintains. Though the act of guarding is never easy, as long as one continues to dream and to build, new hopes can always be breathed into being. Through poetic yet resilient language, Tsui transforms the balloon into a passage between motherhood and art, between longing and reality—a light yet powerful form that floats gracefully between the two.
吉普賽人的都市計畫-家 3 / Urban Planning for Travellers-Home III
崔永嬿 Yungyen TSUI｜不鏽鋼、陶 Stainless steel, pottery｜50x50x24 cm ｜ 2025
〈吉普賽人的都市計畫－家3〉呈現出藝術家作為母親的生命現場。面對育兒與創作交織的日常，崔永嬿曾因多重身分而感到焦慮與混亂。然而在陪伴孩子的過程中，她逐漸明白，這一切其實從未分離。孩子的遊戲、生活的瑣碎，並非對創作的干擾，反而早已悄悄成為作品的一部分。這件作品如同一位新生的母親，在疲憊與豐足交錯中，重新整理羽翼、整裝待發的狀態。環繞的森林枝椏與兩隻飛鳥，是兩個生命的新生，一個是孩子的，一個是如同新生的母親，跟隨著孩子再次一起重新體驗到生命的單純、清新與美好。當重整好羽翅時，便能再次從森林中出發，面對自己的新生，展翅翱翔。
〈Urban Planning for Travellers-Home III〉 presents the lived reality of the artist as a mother. In the overlapping rhythms of childcare and creative work, Tsui Yung-Yen once felt overwhelmed by the conflicting demands of her multiple roles. Yet through time spent with her child, she gradually realized that these identities were never truly separate. The child's play and the fragments of daily life were not interruptions to her practice—they had already become part of the work itself. This piece embodies the state of a newly reborn mother: exhausted yet fulfilled, gathering strength, preparing to soar again. The surrounding branches of the forest and the two birds represent two intertwined rebirths—one of the child, and one of the mother, rediscovering life’s simplicity, clarity, and wonder through her child’s eyes. When her wings are once again ready, she lifts off from the forest, embracing her own renewal, and takes flight.