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殖民地之杉 / Colonial Pine
宮殿 / Palace
麥帥新城 / MacArthur New Village
露營 / Camping
旗 / Flag
開唱大吉
→ About
→ Contact
→ Works
殖民地之杉 / Colonial Pine
宮殿 / Palace
麥帥新城 / MacArthur New Village
露營 / Camping
旗 / Flag
開唱大吉
攝影、文件｜尺寸依場地而定｜2022-WIP
Photography, documents | Dimensions variable | 2022-WIP
建築、空間景觀的改造，一直是統治者彰顯其意識形態與國族認同的最佳手段，具有複雜殖民歷史的臺灣，更能看到此現象。在此持續進行的攝影系列中，郭哲希拍攝分布在全臺各地的南洋 杉。但不只是自然攝影，這些看來素樸的影像， 也呈現出這個外來種樹木，在臺灣如何被殖民者使用，並賦予不同政治意義。
臺灣的都市景觀在近百年間發生巨大變化。在日治時期，日本政府因推動「日本化」與「南進基 地化」而種植櫻花與椰子樹，戰後中華民國政府則大舉興建中式建築、中國路名等來突顯「中華文化」。對此，南洋杉在臺灣的歷史脈絡特別顯得意味深長。不同於其它針葉林樹種需要在寒冷的環境生長，這個原本生長於澳洲的外來樹種， 在熱帶/亞熱帶高溫的臺灣平地也能創造出高聳的形象。南洋杉於日治時期引進，突顯臺灣作為日本「南進基地」的想像；到了中華民國統治時期則將早先的南洋象徵，一舉扭轉成威權的、官僚的、中式園林的再詮釋。南洋杉獨特的生長型態，在不同的時代與政治意識型態下接連被不同統治者相中，被有意識地栽種。如今，南洋杉大量出現在政府機關、學校、軍營、國宅等，也是早年植樹節政治人物樂於種植的樹種。
郭哲希以素樸的紀實攝影手法，所紀錄下的不只是在這個島嶼上出現的南洋杉，更呈現出這個特定樹種所在的環境，及其背後隱涵的政治歷史脈絡。
Intentional alteration of architecture and landscapes has long been an effective means for rulers to promote their ideology and national identity. Such a phenomenon is particularly evident in Taiwan, an island characterized by a multifaceted colonial past. In this ongoing photography series, Kuo captures images of colonial pines in various locations throughout Taiwan. More than just nature photography, these unrefined images depict how a non-native plant is employed by colonial powers, entangling it with intricate political connotations.
Over the past century, Taiwan's urban landscape has undergone considerable transformation. Under Japanese colonial rule, sakura and coconut trees are planted by the Japanese government in line with their "Japanization" policy and the objective of positioning Taiwan as a base for Japan's "southward expansion." Conversely, the Republic of China (ROC) government has built a substantial number of structures in Chinese style and assigned Chinese names to roads in an effort to emphasize "Chinese culture." Having been treated differently by the colonizers, the colonial pine seems to carry specific implications within the complex context of Taiwan's history. Contrary to the majority of needle-leaf trees that necessitate a temperate climate, the colonial pine, native to Australia, adapts effectively to Taiwan's tropical and subtropical climates. In Taiwan's low-altitude flatlands, thriving, tall- standing colonial pines create a striking, towering presence. Initially introduced to Taiwan during Japanese rule, it symbolizes the empire's ambition to use Taiwan as a strategic base for further southward expansion, whereas the ROC government diminishes its association with the south by linking it to authoritative, bureaucratic environments or traditional Chinese gardens. Favored by colonial rulers of various eras and with different political views, colonial pines are planted because of the authority's deliberate decisions. Today, they can be found in abundance across government agencies, schools, military bases, and public housing. They, too, have once been a popular choice among politicians for Arbor Day celebrations.
Kuo's unrefined documentary photography not only offers a visual record of the tree on this island but also portrays its surrounding environments, as well as the historical and political connotations it embodies.