Symbols of inspiration | 靈感的符號

Tammi Tsang – Trilogy

From her project “Trilogy,” Tammi reflected her own interpretation of the Greek myth of Oepidus.

To understand this project in a structural way, the project can be separated into two parts: the video and the puppets. It’s essential to understand the background story and the concept that is communicated with the audience.

Tammi Tsang – Trilogy

As one may know about the myth of Oepidus and its roots in family tragedy, Tammi selected its complexity to describe the relationship between her, her mother and her grandmother.

“It’s a love-hate relationship, which I believe is common for each and everyone of us at some point of our lives.”

Tammi further explained that the myth of Oepidus is more of a realisation of self-identity in different stages of life. The acknowledgement changes over time and also derived various emotions such as denial, resentment and regret.

Tammi Tsang – Trilogy

The image and construction of the puppets provided Tammi with a chance to reference the physique of women at different ages. It was similar to a review of the appearance that she once had, is having and will have. It is also a conscious selection of what she would like to present and subconscious discovery of her self-image now and then.

As the myth itself also has derived the famous Freudian theory of an Oepidus complex, it offers her audience a path to interpret “Trilogy.”.

“Using the myth of Oepidus and the complex as a mediator may help link up the similarity of my personal experience to the shared, public experience, and I hope to reach the message out to the audience,” explained Tammi.

For the other part of the project, the video captures the making of the process and also some key lines from the play “Oepidus Rex.” The ending of the video is purposefully more ambiguous than the definite ending of the play.

“I intended to suggest a more positive ending for the video by removing the restraints to acknowledge true self, just as the hopefulness expressed in dialogue quote is at the end. Yet, the ending of the story is neither the ending for life nor the myth of Oepidus.”

Tammi Tsang – Trilogy

To continue her style of creativity, Tammi would love to delve into more myths and their symbolic meanings to both the individual and society.

“I am still positive that I will continue to work on projects and hope to make a living by doing art-related work, as long as things don’t change much,” she said. “As a creator, I hope to inspire others like those who inspired me.”

 

從她的作品《仨》當中,曾天美敘述她對希臘神話伊底帕斯的詮釋。

從結構上了解這個作品,它大致分為兩個部分:錄像和人偶。了解背景故事對於了解作品及其概念實在至關重要。

你也許知道伊底帕斯的故事和它扎根於家庭悲劇的內容,曾氏以其來形容她與母親和祖母的關係。

Tammi Tsang – Trilogy

「這是一個愛與恨的關係,我相信這在每個人的生命中都非常常見。」

曾氏續道,伊底帕斯的故事讓她更多的了解自己在生命不同的階段中認同自己身份。這種認知除了隨著時間而改變之餘,同時也衍生了各種情緒諸如否認、厭惡和後悔。

人偶的製作和形象讓曾氏表達女性不同年級的特性,同時讓她反映自己的曾經、現在和未來,更讓她可以在意識層面上選擇自己現在和未來的潛意識自我形象。

伊底帕斯的故事的故事衍生了有名的弗洛伊德理論「戀母情節」,為曾氏的作品《仨》向觀眾提供了解讀的路徑。

Tammi Tsang – Trilogy

「利用伊底帕斯的故事和其複雜性可以聯繫我和觀眾之間經驗的共通性,我希望我的信息可以傳達給每一位有或沒有類似經驗的觀眾。」曾氏解釋道。

作品的錄像部分則是記錄了創作的過程和戲劇《伊底帕斯王》的主要對白。錄像的結尾與戲劇唱反調,特意以模糊的信息結尾,和戲劇的絕對結局形成對比。

「雖然很多人都已經知道戲劇的結果,但是我希望可以透過移除已知,提供一個更加正面的結果,正如錄像結尾引用的句子所表達的正面思想一樣。然而。故事的結局不代表生命的結局,也不是伊底帕斯的結局。」

為了延續她的創意風格,曾氏希望可以繼續以神話及它們對於個人和社會的的象徵意義為題。

「我覺得我還會繼續創作,如果情況容許的話,我也希望可以以藝術來謀生。作為一個創作者,我希望啟發其他人,一如我被其他創作者啟發一樣。」

Comments are closed.