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030 | 入選林君達國立臺北藝術大學 / 美術學系碩士班 ( 複合媒體組 )趨光Phototaxis / 2025尺寸依場地而定環氧樹脂創作理念《趨光》製造數個等比例縮小，大小不一的黑色媽祖神像，搭配聚光的效果，遠看營造類似蚊蟲趨光的景觀，近看會意識到微小的黑色物體是媽祖神像。「蚊蟲」和「神像」之間是兩造截然不同，沒有直接關聯的事物，在作品中則隨著觀眾的移動，逐漸靠近牆面而產生互動與交集，此時觀眾好比作品裡的蚊蟲，自然向前成為這個現象的一部份，也如同信眾對信仰的虔誠、純粹，在政治介入，操作金錢和權力的社會中，逐漸變成無法抗拒甚至盲目的追求。《趨光》透過視覺語彙，呈現媽祖信仰和臺灣社會之間的關係，並試圖對信仰作用於現實的發展做出提問。\ototaxis\proportionally scaled down. Combined with spotlight effects, the installation creates a visual impression from afar resembling insects drawn to light. Upon closer inspection, viewers realize that the tiny black objects are in fact Mazu statues. \are two entirely different, unrelated entities. However, in this artwork, as viewers move and gradually approach the wall, an interaction Lin, Chun-Ta / 1997and convergence emerge. At this moment, the viewer looks like the insects in the work-naturally drawn forward, becoming part of the phenomenon. The sincere and devoted pilgrimage influenced by politics, money, and power, gradually transforms into an irresistible, even blind, pursuit. \between Mazu belief and Taiwanese society, while also raising questions about how faith influences the reality.作品說明以 3D 列印技術搭配環氧樹脂翻模，將媽祖神像重新製作成黑色且等比例縮小的塑像體裝置於牆面，再搭配投射燈呈現黃色光源，製造如同「飛蛾撲火」的場景，也讓觀眾下意識在較為幽暗的環境中，隨著光線向前確認微小的黑色物體是什麼，成為作品的一部分。Using 3D printing technology combined with epoxy resin molding, the Mazu statues are recreated as black, proportionally scaled-down sculptures and installed on the wall. A yellow light source is created using spotlights, evoking a scene similar to \the dimly lit environment, viewers are naturally attracted to the light in order to see the tiny black objects, effectively becoming an integral part of the artwork.入 選