「感傷投影」是離家遠行十幾年後對自身成長經驗、家族歷史的回望與探索。

延續前作《印尼Sungai Duri卡拉OK記憶計畫》，在經過長年對印尼田野創作的經驗後，從中獲得較為清晰的勇氣來回頭面對自身家族史的梳理與提問。「感傷投影」作品藉由訪談外省二代女性，重看她們童年生活歷史，反思族群、文化與身份歸屬的問題，並捕捉到生命中隱匿的情感與經歷。

「感傷投影」承載了對逐漸消逝的生活記憶、物件與習慣的感傷。「感傷」不同於單純哀傷或懷念，而是因為曾經投入其中，曾經愛過並終將逝去所遺留下來的、淡淡的情緒，模糊而又具體的感覺。作品亦從感傷經驗延伸，加入「物件投影工作坊」間參與者帶來的物件融入作品中，依靠日常物件與影像，讓觀者感受隱藏在生活歷史中的記憶與情感。作品既是對外省第一代至第三代生活記憶的保存，也是對所有即將消逝、令人感傷事物的映射。

因應嘉禾新村為眷村改建的文化園區，同時於防空洞的特殊空間展出，此一戰爭遺跡空間呼應作品對歷史、遷徙與生命故事的關注。今年適逢終戰八十年，亦是藉此作品回看戰爭對個人生命史及情感記憶的影響，在洞穴內投影出另一情感世界的影像，同時投影的變形增加空間的詩意與不確定性，在洞裡呈現出朦朧而時空隔絕的感受。

Melancholic Projections is a return to my own memories and family history after more than a decade of living away from home.

Following my earlier project The Sungai Duri Karaoke Project, which was rooted in years of fieldwork in Indonesia, I found the clarity and courage to turn back and confront the narratives of my own lineage. Through conversations with second-generation women from mainlander families, Melancholic Projections revisits their childhoods, reflecting on questions of identity, belonging, and cultural inheritance, while tracing the subtle emotions and experiences often hidden within personal histories.

The work carries a tenderness toward vanishing memories, objects, and habits. By “melancholic,” I do not mean grief or nostalgia alone, but the quiet resonance that remains from having once lived, once loved, and inevitably lost. Extending from this sentiment, I invited participants of the “Object Projection Workshop” to bring their own belongings into the work—ordinary objects that, when combined with moving images, allow buried memories and emotions to surface and be shared. In this way, the project preserves fragments of mainlander life across three generations, while also speaking to all things fading, fragile, and touched by loss.

Presented in the air-raid shelters of Home Village—a former military dependents’ settlement—the site echoes the work’s engagement with history, migration, and the traces of personal lives. This year, marking the eightieth anniversary of the war’s end, the work reflects on how war lingers in individual memory and emotion. Within the shelter’s cave-like darkness, images are projected into another emotional realm, their distortions adding poetry and uncertainty, evoking a hazy, suspended sense of time and space.