海,半光面相紙鋁板裱褙/實木層板/玻璃杯/水/時鐘機芯x2, 112x86.35x20cm, 2020
Sea, Giclée prints on semigloss photo paper and mounted on dibond/plywood/glass cup/water/clock machine,112x86.35x20cm,2020
Kaohsiung Museum of Fine Arts Collection, Taiwan
For me, image is another form of objects, much like the reflection of mountains co-creates the landscape with the mountains themselves. In the "Sea" series of works, aside from the imagery captured through photography, I also focus on the existence of photography as an object. This includes the photographic paper itself, mounted on aluminum sheets, the aluminum sheets placed on wooden boards, the texture of stained wooden boards, the water cup on the shelf, and the water inside the cup.
When image forms a state of connection and relationship with these objects in a particular condition, an intermediary space emerges, allowing things to be reacquainted with their own appearances. In some sense, I have been seeking this kind of space in my work all along. In the "Sea", the mechanical movement of the second hand becomes a part of the image. As the disc rotates, the sea alternates between being an image (profound) and a plane (the surface of photography). The instantaneity of photography and the fluidity of real-time coexist here.
The division between the sea surface and the circle also highlights the abstract nature of the sea as an image. It's this abstraction that allows the entire set of objects to form a delicate whole. This whole is like a still life drawing, and within this still life, I attempt to depict various aspects of materiality along with time, gravity, and experience.