【作品觀賞│注意事項】 珍惜脆弱展品，愛惜藝術，並維護您自身安全，敬請協助勿於展品附近嬉耍、奔跑、追逐、進行球類運動。

[Cautions:] Please be cautioned that the artworks are fragile. For the safety of the artworks, as well as your well-being, please be careful while viewing the exhibition. Please help us by restraining your children or yourself from playing, running, chasing, or conducting any ball games around the exhibits.

藝術家徐永旭的創作，彷彿是透過身體來經驗狀態、而後陳述出思想。近幾年以黏土為材料經過窯燒完成的「極大極薄」的造形作品，都是他為了逾越自己身體的極限，並試圖逾越對自己身體的感覺和認識所創作出的作品。

創作過程中，徐永旭選擇不使用任何工具，而僅以自己的手掌與指頭一圈一圈銜接堆疊土條，再以不斷反覆地搓揉、擠壓與捏塑的動作，讓薄度處在臨界點的造形加高發展，讓造形接受往上加高的重量考驗，從而決定造形的偶發構造。徐永旭的創作活動是一種肉身苦行，另一方面也可以讓我們發現藝術作品的媒材與藝術家的身體之間存在著一種類似血緣的關係。

在這一再反覆的身體移動與手指捏塑的創作過程中，徐永旭的身體已經化身到黏土之中。 他的雙手與他的身體運動也處在一種交織狀態，這個交織狀態讓他雖然進入一個自己尚不知曉的旅程，卻能感受到身體正在隨著雙手與黏土的接觸與相互滲透，而發展出超乎自己經驗的生命情境。這個情境，有痛楚，也有驚喜。那是一個充滿不確定性的旅程。

備註：本創作論述節錄於廖仁義教授為徐永旭所寫之創作觀察論述《肉身苦行》。

Artist Hsu Yong-Hsu's works seem to be stating thoughts about the body's experiences. The "large and thin" plastic artworks made from kilned clay presented in recent years are attempts to explore the limits of his own body, as well as his sensations and cognition towards the image of the body.

In the process of working, Hsu Yong-Hsu chooses not to use any tools. Palms and fingers connect clay strips into circles, knead and compress the clays repeatedly, and sculpt the images. Through his hands, the structure at the critical point of thinness develops even higher and is subjected to a challenge of weight. And the possibilities at the critical points determine the spontaneous structure. Hsu Yong-Hsu's creative activities are like a series of physical austerities, which present to us a certain kind of lineage between the creative media and the body of the artist.

In the repeated motions of moving body and fingers, Hsu Yong-Hsu's body is fused into the sculpture clay and the motions of his hands and body weave into a web of paths that leads him on a journey towards unknown destinations. Yet, he feels that his body is connecting with the clay through his moving hands, which is creating a life scenario beyond his past experience. There is pain, as well as surprise, in this scenario. It is a journey filled with uncertainty.

P.S.: This synopsis is abstracted from the commentary of Professor Liao Ren-Yi entitled Physical Austerities, which was written for his observation of Hsu Yong-Hsu's creative works.