「靈魂的渡口」的概念來自赫曼．赫賽的《流浪者之歌》，將吳寬墩與戴瀚成兩位藝術家的作品，演釋故事的主人翁悉達多的三段旅程：第一段「文明的彼岸」看到人世間和自己內心的紛亂；第二段「迴旋與試煉」走入人群，與人群對話：第三段「擺渡人」覺悟了人生，放下自我成為擺渡人。
就展覽形式言，除了每個展區同時展示吳寬墩醫師與戴瀚成醫師之作品外，本策展團隊將結合現代舞蹈及藝術家訪談，拍攝製作一支展覽主題影片。策展人將結合其影像導演的專業，以藝術跨域的形式針對本次展覽主題做影像的詮釋與回應，於展場及線上同步播出。
The Ferry of Soul
The concept of “The Ferry of Soul” is inspired by Hermann Hesse’s Siddhartha, and interprets the three stages of the protagonist Siddhartha’s journey through the works of two artists—Wu Kuan-Dun and Dai Han-Cheng. The first stage, “The Far Shore of Civilization,” reflects the chaos of the human world and the turmoil within oneself. The second stage, “Cycles and Trials,” represents entering society and engaging in dialogue with others. The third stage, “The Ferryman,” signifies enlightenment, the letting go of the self, and becoming one who helps others cross.
In terms of exhibition format, each exhibition zone will feature works by both Dr. Wu Kuan-Dun and Dr. Dai Han-Cheng displayed side by side. Additionally, the curatorial team will produce a thematic exhibition film incorporating modern dance and artist interviews. Drawing from the curator’s background in film direction, the video will serve as an artistic, interdisciplinary response to the exhibition’s core theme. It will be screened both in the exhibition space and online simultaneously.
站在此岸的渡口，望向彼岸未知的未來，為不捨晝夜的時間之河所隔開，你期待看到什麼？
從這系列的創作裡，吳醫師結合過去的歷史與對未來的想像，反思人類假科技、文明、演化之名，行文化侵略資源掠奪之實；看到資源匱乏的世界與對彼岸星球的想像；更會看到水波不興的寂靜悠然下，隱藏著多少深濬暗流？從戴醫師的微縮模型中，看到矗立雲端的巨廈高塔誰與爭鋒，卻在視角轉換下，看到那被人類文明操弄的藍色憂鬱。
The Far Shore of Civilization
Standing at the ferry port on this side, gazing toward the unknown future across the river of time that flows ceaselessly day and night—what is it you hope to see?
In this series of works, Dr. Wu blends historical reflection with imaginative visions of the future. He critiques how, under the guise of science, civilization, and evolution, humanity has carried out cultural invasions and resource exploitation. We witness a world suffering from resource scarcity and the imagined allure of distant planets on the far shore. And beneath the surface of serene still waters—how many deep and hidden currents quietly surge?
In Dr. Dai’s miniature models, we see towering skyscrapers piercing the clouds, each one a symbol of humanity’s desire to dominate. Yet from another angle, these same constructs reveal a melancholic blue—an emotional landscape shaped by the manipulations of human civilization.
航向彼岸的旅程是暗潮洶湧的，我們是否能趁每次的低潮、洄漩，反省此去的方向，才是比起洄漩本身更重要的價值試煉。
有人說，Covid-19 病毒是自然對人類文明的反噬；也有人說，口罩與疫苗是人類文明的救贖。這系列裡可看到吳醫師畫作中四處可見的口罩，也可見到戴醫師利用口罩畫布所繪的自由女神像。透過戴醫師擅長的視角轉換，將因抗疫而殉職的醫護人員化身為傳說中的驅邪神祇；當我們向上仰望，疫苗和口罩創造的創世紀神話，究竟是人類文明的救贖，還是玩笑？
以醫者之心作畫，病人的生命不知不覺中已成了畫家在夢境與現實間的徘徊與思索。吳醫師的〈黃道士〉與〈化緣〉，便成了我們再也無法一瞥即忘的人生邊緣風景。
Revolutions and Trials
The journey toward the far shore is turbulent, with surging tides beneath the surface. Can we, in each ebb and whirlpool, reflect on the direction we are headed? Perhaps the value of this self-reflection is a greater trial than the whirlpools themselves.
Some say that the Covid-19 virus is nature’s backlash against human civilization; others argue that masks and vaccines are humanity’s salvation. In this series, we see Dr. Wu’s paintings where masks appear in various forms, while Dr. Dai uses masks as canvases to depict the Statue of Liberty. Through Dr. Tai’s signature perspective shifts, healthcare workers who died in the fight against the pandemic are transformed into legendary exorcist deities. As we gaze upward, the creation myths born from vaccines and masks—are they the salvation of human civilization, or just a joke?
Painting with the heart of a healer, the lives of patients unknowingly become the artist’s musings between dream and reality. Dr. Wu’s “Daoist Priest” and “Begging for Alms” have become indelible, unforgettable images—fragments of life lived on the margins that we can never quite forget.
就在旅程即將結束前，回首來時的顛沛橫逆，能否對過去的傷痕一笑置之？我們要如何，再聆聽和同感之後，還能記得追求靈魂自由的初心，而非讓仇恨與傷疤漫延，成為新的顛波？
從吳醫師一系列透過熨斗來撫平傷痕的作品中，看到每個在真相與放下中掙扎的痛苦靈魂，該怎麼用時間安慰自己，甚至成為自己的擺渡人？戴醫師的巴黎聖母院，在不同角度的光源照射下，分別映照出史懷哲和德蕾莎修女的肖像；透過班克西碎紙機對歷史的爬梳，反思去掉文化根源是否也如同班克西開了近代藝術市場的一場玩笑？但不管如何，這些都讓我們明白：最終，我們仍是面對光明的。
The Ferryman
As the journey nears its end, can we look back at the tumult and hardships with a smile? After listening and empathizing with others, how can we remember the original pursuit of spiritual freedom, rather than allowing hate and scars to spread and become new waves of turmoil?
In Dr. Wu’s series of works that depict the use of an iron to smooth out scars, we see every tortured soul struggling with truth and letting go. How can we comfort ourselves with time, and even become our own ferryman? Dr. Dai’s Notre-Dame de Paris, illuminated by different light sources at various angles, reflects portraits of Albert Schweitzer and Mother Teresa. Through Banksy’s shredding of history, he reflects on whether removing cultural roots is like a joke played on the modern art market. But no matter what, these works remind us that, in the end, we are still facing the light.
畫家｜臺大醫學院名譽教授 Painter | Honorary Professor at National Taiwan University College of Medicine
藝術家｜恩主公醫院骨科主任 Artist | Director of the Department of Orthopedics, En Chu Kong Hospital
展出期間：2023.02.04 ～ 2023.02.15
展出時間：每日 09:00～17:00
展出地點：國立臺灣師範大學美術系德群畫廊
開幕：2023.02.05 上午 10:00
策展人：葉明勳
