四點四十八分之一
4.48 Psychosis I

2003電子機械動力空間裝置 500 x 1000 x 60 cm
Spatial installation operated by electronic apparatus , 500 x 1000 x 60 cm

「4.48 Psychosis」是英國劇作家莎拉．肯（Sarah Kane,1971-1999）的最後遺作，劇名4點48分是影射在黎明前尚未清醒之際，意識模糊的最終零界點，而這個零界點也陳述了人處於虛實之間界線的崩解與真偽之間的消融，這樣的情狀貼切的反示著我這次個展的創作狀態，我將電子物件與影像穿透我的身體，於是崩解的身體物件藉著實物，藉著影像穿透於沒有前後連結的時間剖面，遊蕩於無法辨識與認知的空間系統。

我藉由身體最前線的感覺系統—皮膚，與極微的分子—細胞，將它們的肌理或圖像極度的放大，利用電子的連結作成30個似人的機器物種。它們有自己的感應系統並搖擺與跳動，而圖像會與真實的牙齒產生碰撞，在獨一機器物種的搖滾音樂聲中，詭異的傳達出介於歡樂與陰鬱的交雜矛盾。

"4.48 Psychosis" is the final, posthumous work of the British playwright Sarah Kane (1971~1999). The "4.48" alludes to the time before the awakening of dawn, at the vague ultimate threshold of consciousness. This threshold expresses the blending of disintegration, truth, and falsity that occurs when people are situated on the dividing line between emptiness and existence. These circumstances aptly express my creative state at this solo exhibition. I use electronic objects and images to penetrate my body, and disintegrated body objects penetrate a temporal cross section with no forward or backward connection via physical objects and images. These objects drift in a spatial system that cannot be identified or known.

I have dramatically enlarged the grain or images of the body's front-line sensory system -- the skin -- and its tiniest constituents -- cells -- and used electronic links to create 30 humanoid mechanical species. They have their own sensory systems, and can swing and jump. The pictures collide with real teeth, weirdly conveying a confused contradiction between euphoria and depression to the music from the unique mechanical beings.

參展紀錄 Recording of display

2003 「告密」許淑真個展，福華沙龍，高雄，台灣

2003 "Confess" Hsu Su-chen Solo Exhibition, Howard Salon, Kaohsiung, Taiwan