Originally designed as a multi-channel video installation, the film The Walker ingeniously deconstructed the background stories and the plays of the legendary Taiwan Walker Theatre which pretty much represents some underground culture scenes of 1990’s Taipei.  Based on a multi-character narrative structure, the film re-interprets the velocity, prime-time, rebellion, physical pleasure and ethical minefield referred to in these plays. With its Dream-like images, The Walker reminds us of the utopia pictured previously by the Taiwan Walker Theatre, indicating a polysemous, hybridized art world whose components range from the sublime to the ridiculous.

在《屁眼·淫書·速克達》中，藝術家拆解了90年代最重要台灣小劇場團體之一的「台灣渥克劇團」（Taiwan Walker Theater)早年的三齣劇碼 ——《速克達瑪麗》（1993）、《屁眼來的人》（1996）與《四大淫書》（2000），取其的劇情片段與部分角色設定，最後在雜物堆滿的舊公寓場景中進行他的歷史想像。創作過程師法渥克的劇場方法，徵集各領域素人與專業演員一同擔綱現場即興演出，並透過跳躍拼接的多線敘事，以及錄像裝置的形式，詮釋這三齣劇所指涉的速度、青春、反叛、身體愉悅與倫理底線。在藝術家眼中，這些意象形塑了台灣1990年代另類文化的模樣，並幽微地連繫著當代現實。