My Sacred Mountain is the first exhibition of Paiwan artist Etan Pavavalung's artistic career that emphasises the concept of 'Mine' in the title, which marks a transformation in his creative path. In his past artistic propositions, Etan focused on the cultural consciousness of the indigenous people and the care of tribal reconstruction, particularly after the Morakot typhoon in 2009. Etan's mother called for respect for nature, and the tribal elders also spoke of 'The mountain blows fragrant and sweet winds,' hoping that the tribe could return to their homes on the mountain again one day. These wishes are deeply implanted in the life of Etan and became an indispensable initiative in his artistic practice. He is devoted to the spiritual reconstruction of the tribe and plays the role of a storyteller. Through artistic creation, he guides the tribe to remember the initial intention of interacting with the natural earth.

In recent years, Etan has gradually shifted from spiritual reconstruction to the deeper interpretation of cultural aesthetics, such as mythology and ecological philosophy. The title My Sacred Mountain points to this subtle change, illuminating a pilgrimage for Etan to explore inwardly as a Paiwan tribe member and a Christian. Although it seems like a turning point, it is actually a restoration of cultural ethnicity, as his mother's reminders and tribal elders' stories made Etan introspect on his interaction with nature and land. He imprinted these irreplaceable life experiences in his works, incorporating symbolic elements derived from the spiritual foundation of the tribe such as 'sun,' 'wind,' 'lily,' 'eyes,' and others to construct an abstract and vibrant sacred mountain. Furthermore, he believed that before all things existed, a more primitive and noble being existed. The being looked after all things, essentially as sunshine and stars, lilies of the land, and fragrant delivered from the mountain wind.

As a member of the Pavavalung family of the Davalan tribe, Etan Pavavalung inherited the Pulima spirit of the Paiwan tribe, reflecting and expressing culture through artistic practice. In the Paiwan language, 'Lima' means 'hand,' and Pulima means 'a person with exquisite craftsmanship who accomplishes goals with hands.' Etan's unique 'Trace Layer Carve Paint' is derived from the Paiwan term 'Vecik,' and used to express his artistic vocabulary. 'Vecik' means writing, embroidering, engraving, and tattooing with pattern, usually referring to the 'Iconic Designs' in their culture and everyday life, where various symbols and patterns are combined, each represents a precise meaning and relationship. While the verb 'Venecik' of 'Vecik' means completing the patterns mentioned above, it also means writing or recording. It records the way the tribe interacts with nature and documents the vital inheritance of tribal culture. Etan transforms the expression of contemporary art with 'Trace Layer Carve Paint' and reproduces the ancient aesthetic experience of the Paiwan people.

Press release courtesy Asia Art Center.