他們深受歷史檔案創造無窮盡的想像空間所吸引，視藝術創作為建檔工程，進行對事物的指認、區辨、歸納及分類，強調於視覺物件背後的事件被「回放」於日常的程序，卻同時任由記憶的失誤、時間的錯置一再出現，如同兩人創作上的互動，思緒在平行時空中交會。與其尋找真相，他們更關注於人們看待事物的價值移轉，並藉以檔案與再檔案的結果相互辯證。過去幾年的創作，曾關注文革時期上山下鄉運動的知識青年、浪跡紐西蘭的華人移民，在兩個不同軸線中追逐歷史裡的移動者，同時也是主流社會檔案中空缺的他者，借鏡反思臺灣在特殊的國族情境底下移民者/ 外來者的社會現實。

 

2017-2018 年駐村於國立臺灣史前文化博物館、紐西蘭奧克蘭、印尼日惹、中國上海，受邀參與2017 FORMOSA 雕塑雙年展、高雄國際鋼雕藝術節「嬉型鋼」、匈牙利國際自然藝術創作營，舉辦個展〈There is no Chinatown〉（聯合理工學院，奧克蘭，紐西蘭，2018）、〈與正本相符〉（南海藝廊，台北，臺灣，2016）、〈不對外開放〉（朱銘美術館，台北，臺灣，2016）。

 

Working Hard are fascinated with the creation of an inexhaustible imagination space in historical archives. They regard art creation as a documentary work, identifying, distinguishing, summarizing and classifying things, emphasizing that the events behind visual objects are “replayed” into daily routines, but at the same time they let the mistakes of memory and the misplacement of time appear repeatedly; just like the interaction between the two artists, their minds meet in parallel time and space. Instead of looking for the truth, they are more concerned with the value transfer of people’s perceptions of things, and the dialectic of the results of the filing and re-filing of archives. In the past few years, Working Hard concerned about the Educated urban youths who participated Up to the Mountains and Down to the Countryside Movement during the Cultural Revolution, the Chinese immigrants floating in New Zealand. By chasing the migration groups which are also the strangers in the mainstream social archives along two different axial lines in history, Working Hard rethinks the social reality of immigrants/outsiders in Taiwan under special national circumstances.

 

During 2017-2018 they joined the residency at National Museum of Prehistory, Auckland in New Zealand, Yogyakarta in Indonesia, Shanghai in China, invited to attend 2017 FORMOSA Sculpture Biennial, 2016 Kaohsiung International Steel & Iron Art Festival, 2016” STEEL PLAY”, 2014 International Nature Art Symposium, 6th, Wolf-stone Cave Art Camp Association, and held exhibitions “There is no Chinatown” (Snowwhait Gallery, Unitec, Auckiand, New Zealand, 2018), 2016 “CERTIFIED COPY” (Nanhai Gallery, Taipei, Taiwan, 2016), “Not Open to the Public” (Juming Museum, New Taipei City, Taiwan, 2016), “CERTIFIED COPY” (Open Contemporary Art Center, Taipei, Taiwan, 2016).