台南善化人，現居高雄，是中鋼公司的藍領工人，從事攝影創作逾三十年。代表作品有《再造王國》（1997）、《野獸橫行》（1999）、《家園游移狀態》（2006）、《彩庄紅毛港》（2007）等。近年來對台灣海岸線進行廣泛的田野踏察而發展出大型的「海島計畫」，其中的《台灣水沒》系列曾獲2018年高雄獎。其歷年作品曾受邀至法國、香港、科索沃、北愛爾蘭等國展出，並獲國內外美術館收藏。
Email: ysf3397@yahoo.com.tw
Taiwan Shiu-mo 台灣「水沒」
Shiuhhuah Serena Chou 周序樺
Shun-fa Yang's “The Submerged Beauty of Formosa” features a series of over sixty landscape photographs of Taiwan’s “shiu-mo” taken since 2016. A blue-collar photographer from Kaohsiung, Yang notes, “shiu-mo first suggests a ‘sinking and flooded’ (水沒) Taiwan, but it also refers to a unique Taiwanese intervention into the Chinese “ink painting” tradition, shiu-mo hua (水墨畫).” In the tradition of an aesthetic genre that celebrates the inner harmony of the human and nonhuman, Yang insists on capturing the serenity of Taiwan, an island so luscious and pristine that it was named by the Portuguese in the fifteenth century as “Ilha Formosa.” This sense of beauty, however, is given a twist when he redefines nature from a landscape of unspoiled wildness absent of humans to a wasteland abandoned by humans because of overdevelopment. Highlighting the beauty of Taiwan’s flooded coastlines, he asks not only what catastrophes cause the disappearance of humans but, more importantly, whether nature, as Laozi says in Tao Te Ching, is indifferent because even environmental disasters could also be sweepingly beautiful. With the question, is Taiwan “beautiful or not” (suí-bô,「嫷」沒, Taiwanese dialect), Yang prompts us to reconsider the meanings of disaster and environmental protection.
嘉義縣東石鄉網寮村
台南市南區四鯤鯓塭
嘉義縣新塭鹽場槍樓(二)
嘉義縣東石鄉鰲鼓村魚塭(三)
彰化伸港鄉海寮
嘉義縣東石鄉鰲鼓村魚塭(一)
嘉義縣布袋鹽場掌潭場務所
嘉義縣東石鄉白水湖漁塭(二)
