1962年出生於花蓮Makota’ay港口部落，現專職創作。 2000年獲亞洲文化協會(ACC)獎助前往美國進修學習當代藝術。2014年獲國立海洋科技博物館列入海洋文化之代表藝術家。重要作品包括《現代集會所》(1993)、《末始》(1999)、《歸零》(2000)、《站立之舞》(2005)、《殘》(2007)、「颱風計畫」(2008-2013)、「五十步的空間」(2013-2017)、「海美/沒館」(2018-)。著有〈混濁〉(2006)、〈旅行在50步的空間〉(2019)。 自創作以來不斷地反省與探索自己的思緒，沉澱與積蓄自己的創作能量，使用充滿生命和記憶的自然材質及海岸邊可見現代過剩產物作為材料。作品多蘊含海洋文化特質與部落傳統精神，擅長以淬練後的雕塑線條與語彙精準的裝置傳達對全球化課題的環境思維辯證，探討族群結構瓦解及大社會變遷的現狀，透過自身的行為及藝術創作引發觀者的自我省思。 一路走來，已從文化詮釋的社會性批判、思索、重省、再現等可能，邁向對藝術本質之純粹性的探索。 Rahic.Talif was born in the Amis Makota’ay village of Hualien in 1962. He is a professional artist who works in the fields of wood sculpture, installation art, performance art, architecture, furniture, reworking tribal culture, indigenous society and culture, etc. From his collection of tribal myths, oral histories, and visits to old tribal sites, Rahic has sought to relearn tribal wisdom and help tribal members participate in art exhibitions at home and abroad, as well as creating public art works. In 2000, Rahic received a grant from the Asian Cultural Council to attend art activities in the United States. In 2014, he was designated an ocean culture artist by the National Museum of Marine science and Technology. His main works include Modern Meeting Room in 1993, Ending and Beginning in 1999, Return-to-Zero in 2000, The Dance of Standing in 2005, Incomplete in 2007, Action Project for Typhoon from 2008-2013, The Space of Fifty Steps from 2013-2019, and he has written Turbid in 2006 and Journey in the space of 50 steps in 2019. For more than two decades, Rahic has reflected on and explored his own ideas, as a result of developing a very distinctive creative energy. This has involved with using driftwood imbued with life and memories as his main medium and creating pieces that depart from the generally received understanding of aboriginal art. Many of Rahic’s works embody the spirit of ocean culture and traditional tribes. He has also proved particularly adept at installation art that makes use of honed sculpted lines and precise language to convey environmental dialectical thinking on the issue of globalization. As he discusses the collapse of ethnical structure and major social changes, he encourages viewers to reflect on such issues through his own actions and art. During his career, Rahic has moved from a focus on the possibilities in social criticism, ideas, reflection and reproduction of cultural interpretation, to an exploration of the essential purity of art.