蔡尚孚 1994年出生於台南新營，現居於台北
創作於行為表演擺盪到互動裝置為主要的歷程。他熱衷探究日常物件重組的實驗，癖好觀察各形式的人類互動。作品多以現成物改裝的機械動力裝置呈現，試著探索符號疊合的擴散意義，企圖生產更為畸趣的荒謬現象。(畸趣：畸形+有趣，是我正在找尋的反常幽默)

Tsai Shang Fu 1994 born in Tainan Xinying, Living in Taipei now
His main artistic creation process swings from performance art to interactive installation. He’s interested in searching and studying the awkwardness and absurd things in life and also is fond of observing all forms of human interaction. Most of his works are presented in mechanical power devices modified from ready-made objects. He is trying to experiment with the diffused meaning of symbols superposition, and attempting to produce a more absurest phenomenon. (I’m looking for an abnormal sense of humor, I call it "absurest = absurd + Interest ".)

▌個 人 簡 歷 ∣ Curriculum Vitae

蔡尚孚｜Tsai Shang-Fu
1994年出生於台南新營，現居於台北

▌學 歷 ∣ Education

▌獲 獎 ∣ Award

▌展 覽 ∣ Exhibition

▌ Curriculum Vitae

蔡尚孚｜Tsai Shang-Fu
1994 born in Tainan Xinying, Living in Taipei now

▌ Education

▌ Award

▌ Exhibition

創作自述 Artist Statement

過去，我的創作大多是妄想的具現化，爬梳個人的創作脈絡，會發現它們都是與某些被壓抑的情慾有關，而我的創作動機通常只是純粹的好奇心這些想法視覺化的狀態。

人的慾望主體一直是我觀察的現象之一，儘管在多重性別認同的當代，慾望那種難以言盡的狀態依然是具有普遍性的。而透過高度的消費文化機制，經由廣告電影等主流媒體傳播，某些刻板印象至今仍深深植根於日常生活。

我持續地處理所謂的「破碎的浪漫」，那是將個人作為直男魯蛇的觀點轉化的方式。而事實上，我追求的浪漫，只是消費機制的殘渣。當我試圖將殘骸拼湊成我所想像的慾望主體時，這些形象可能是一種類似自嘲的身份認同。

In the past, my creations are mostly the realization of delusions. Looking back at the signs in the context, they are about suppressed passions, and creative motivation is often a state of pure curiosity and visualization.

Man ‘s desire subject has always been one of the phenomena I observe. This age of multiple gender identities, the phenomena still has a certain degree of universality. Through a high degree of consumer culture mechanism, and then transmitted by mainstream media such as advertising movies, it is still deeply rooted in everyday life.

I have been dealing with the so-called "broken romance" for a while, which is the way of viewing from the perspective of myself as a heterosexual loser. The romance I seek is the residue from the consumption mechanism. When I try to piece objects together the residue to fit the subject of desire I imagine, these images might be a self-deprecating identity.