動物與植物不是由於有用才被認識的，
他們之所以被看作是有用或有益的，正是因為他們首先已經被認識了。
Animals and plants are not known as a result of their usefulness;
they are deemed to be useful or interesting because they are first of all
known.
李維史陀，《野性的思維》Levi-Strauss, "La Pensee Sauvage", 1962
作品名稱Title：野性的寓言 Fable of
the Wild
作者Artist：席時斌
Hsi Shih-Pin
材質Medium：不鏽鋼，鈦金鍍膜
Stainless steel, Titanium
plating
尺寸Dimensions：990*599*362cm
年份Year：2013
作品說明Artist's
Interpretation：
回應臺北文創大樓的場域精神，以台灣梅花鹿之鹿角為意象，打造多邊形結構的大型雕塑。創作靈感一方面來自創作者到綠島月夜探訪梅花鹿的經驗；另一方面，文化創意的內涵，在於認識與理解自身的歷史文化、生態環境及在地美學，而後轉化至創作中，藉以產生契合自己與他人生命記憶，並連結世界其他的文化觀點。
巨大鹿角自地面長出，暗喻土地裡富藏的生命與文化，亦期許臺灣文創蓬勃發展，在世界的舞台嶄露頭角。弦月之下，母鹿飛躍，小鹿休憩，鏡面映射出周圍的環境與人們，共組一段野性的寓言。
Echoing the spirit projected by the arena where the Taipei New Horizon Building is situated, the imagery of the Formosan sika deer antlers is used to create the large polygonal sculpture. The creative inspiration is derived from the artist’s own experience with encountering a Formosan sika deer on a moon-lit night on the Green Island. Furthermore, one of the key objectives in regards to the creative cultural industry is to learn and understand one’s own historical culture, ecological environment, and local aesthetics, and to apply those learning with creative endeavors that form collective memories and to connect with other cultural viewpoints around the world.
The emergence of the giant antlers from the ground is a metaphor for the land’s bountiful vitality and culture, and expresses the anticipation for Taiwan’s cultural and creative industry’s promising future with an increasing global recognition. Under the crescent moon, the mother deer is leaping and the fawns are resting peacefully. As the mirrored surface reflects the surrounding environment and people, a fable of the wild is jointly composed by all.
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