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傷痛的地層 Strata of Wounds ── 歷史與身體的日常風景 Everyday Landscapes of History and the Body
12/27 @ 7:00 下午 - 9:00 下午
當戰爭不再被談起，風景還會記得嗎？
來自沖繩的攝影師上原沙也加，以攝影凝視那些被日常掩蓋的歷史痕跡。她將鏡頭深入街道、建築與物件之中，捕捉時間如何以傷痕的形式，悄然滲入生活。
自《沈睡的樹（眠る木）》開始，她關注戰後沖繩風景中「看不見的戰爭」。
戰後大量播種的銀合歡樹迅速覆蓋焦土，濃密的綠意彷彿抹平了彈坑與廢墟的存在。
When war is no longer spoken of, does the landscape still remember?
Photographer Sayaka Uehara from Okinawa uses photography to gaze steadily at historical traces concealed beneath everyday life. Her lens moves through streets, buildings, and objects, capturing how time quietly seeps into daily existence in the form of scars.
Beginning with Sleeping Tree, she has focused on the “invisible war” embedded in postwar Okinawan landscapes. After the war, vast areas were rapidly planted with leucaena trees, whose dense greenery seemed to erase the presence of bomb craters and ruins beneath scorched earth.
Yet in her images, roadside guardrails, fragmented mannequin limbs, and weathered wall surfaces continue to leak how political decisions and historical ruptures permeate everyday perception. The landscape is no longer merely a backdrop, but a witness bearing memory.
In recent years, Uehara has turned her gaze toward Taiwan, a place that shares similar geographical conditions and historical experiences with Okinawa.
In her series Green Room and Green Days, she walks through places such as Keelung and Hualien, identifying overlapping historical afterimages within landscapes where Japanese-era remnants intertwine with subtropical vegetation. Former military facilities now function as ice shops, parks, or parts of daily life; here, the weight of history coexists with the lightness of the present. She further brings these fragments of time back into the intimate space of the “room”, allowing past and present to quietly enter into dialogue.
If Uehara’s work captures time sedimented within “places”, Miri Lin confronts how time inscribes itself upon individuals through the human body and expression. Though their subjects differ, both artists share a core concern: tracing the accumulation of time, and how pain transforms into signs and gestures embedded in everyday life.
This will be a gentle yet profound sharing. From Okinawa to Taiwan, from landscape to body, we invite you to step into the folds of time and listen to those subtle yet resounding echoes that emerge from the cracks of the everyday.
然而，在她的影像裡，路邊的護欄、模特兒殘缺的肢體、牆面斑駁的紋理，卻持續洩漏著政治抉擇與歷史斷裂如何滲入居民的日常感知。風景不再只是背景，而成為承載記憶的證人。
近年，她將拍攝視線移向與沖繩擁有相似地理條件與歷史經驗的台灣。
在《綠色的房間（緑の部屋）》與《綠色的日子（緑の日々）》系列中，她行走於基隆、花蓮等地，在日式遺構與亞熱帶植被交錯的風景裡，辨認出與家鄉重疊的歷史殘影。
曾經的軍事設施，如今成為冰店、公園或日常生活的一部分；歷史的重量與生活的輕盈在此共存。她更將這些時間碎片帶回私密的「房間」，讓過去與現在在靜默中重新對話。
如果說上原沙也加拍攝的是「場所」中沉積的時間，林詩硯則以「人」的身體與神情，直面時間如何刻寫於個體之上。拍攝對象雖異，兩人卻共享著相同的創作核心——捕捉時間的堆積，以及傷痛如何轉化為日常中的符號與姿態。
這將是一場溫柔而深刻的分享。從沖繩到台灣，從風景到身體，我們邀請你一同走入時間的皺褶，聆聽那些在日常縫隙中，微小卻震耳的回聲。
講者簡介 Speaker Bios
上原沙也加 Sayaka Uehara
1993年出生於日本沖繩縣。以捕捉顯現於風景之中的記憶與傷痕、積存於場所與物件當中的時間層為實踐進行攝影創作。
曾獲第36回寫真之町東川賞新人作家獎、「VOCA展2024」榮譽獎、大原美術館獎。
主要個展包括：「The Others」（2019）、「眠る木」（2022）、「緑の部屋」（MISA SHIN GALLERY, 2024）、「緑の日々」（kanzan gallery, 2024）。2022年由赤赤舍出版攝影書《眠る木》。
Born in 1993 in Okinawa, Japan. Her photographic practice focuses on memories and wounds revealed within landscapes, and the layers of time accumulated in places and objects.
She has received the 36th Higashikawa New Photographer Award, an Honorable Mention at VOCA Exhibition 2024, and Ohara Museum of Art Award.
Major solo exhibitions include The Others (2019), Sleeping Tree (2022), Green Room (MISA SHIN GALLERY, 2024), and Green Days (kanzan gallery, 2024). Her photobook Sleeping Tree was published by Akaaka in 2022.
林詩硯 Miri Lin
2020年取得東京藝術大學先端藝術表現碩士學位，2020-2024年間於東京藝術大學攝影中心擔任教育研究助手。曾於新宿Totempole Photo Gallery、新宿Nikon Salon、京都Purple等畫廊舉辦個展。2023年獲第3屆PITCH GRANT大獎；2024年於赤赤舍出版《針の落ちる音》攝影書，並以此書獲2024年第24回攝影都市相模原攝影新人獎。
She received her MFA in Intermedia Art from Tokyo University of the Arts in 2020, and served as an Educational and Research Assistant at the university’s Photography Center from 2020 to 2024. She has held solo exhibitions at Totem Pole Photo Gallery (Shinjuku), Nikon Salon (Shinjuku), and Purple Gallery (Kyoto), among others.
She won the Grand Prize at 3rd PITCH GRANT in 2023. In 2024, her photobook The Sound of a Needle Dropping was published by Akaaka, and the work received 24th Sagamihara Photography Award for New Photographers.
