2019

Photography 

​

I have been shooting photographic projects with the theme of "traces", researching how photography is a medium that is neither all-encompassing (not all conceptual, not all fictional, not all narrative), to construct the perception of our world.

 

"Remnants of Burning Spirits" was taken in October 2019 about the burnt mixture of building materials and black soot on the ceiling of a Hong Kong MTR station. The content of the image is abstract, it looks like the surface of a planet or a pile of sand, undefined and ambiguous. The images do not explicitly provide specific content. The image empowers the viewer’s imagination, to find clues in mind to reveal what they are and what happened, etc.   Viewers can only try to reconstruct something by pairing references with uncertain ideas.  Memories become vital evidence, like archaeology, trying to recreate what has been past or covered up. Even if it is not visible, it can be explained from marks, traces and substances.

 

Photographs of traces reserve and reappear the matter of the past in order to study a fact, a place, a person or any action it records, and that time will not be repeated. The perception of the object referred to in the picture is the same as the structure behind its record, smoke, ashes, light-sensitive particles, pixels…

Photography is not all about what to photograph, but what photography is.  Everything is traceable material debris and the sincere relationship between history and memory.

 

我一直以“痕跡”為主題進行攝影項目，研究攝影如何作為 一種 (不全是概念性的，不全是虛構的，也不全是敘事的) 既非皆可的媒介，去構建對我們世界的感知。

 

作品 「烈炎殘魂」，於2019年十月拍攝了香港某地鐵站天花板上的建築材料和黑煙灰的燒焦混合物。圖像內容抽象，看像是某星球表面或似是沙堆，未定義的、模棱兩可的。影像並沒有明確提供具體內容。觀看者只能嘗試帶著不確定的想法去配對參照物來重建一些東西。該圖像賦予觀看者想像力，在思考中尋找線索來揭示它們是什麼以及發生了什麼事情等。將參考與不確定的想法配對來重建某些東西。記憶變成了重要的證據，像考古學一樣，把消失了或遮蓋了的東西重現。縱使看不清，卻能從標記，痕跡和物質等說明。

 

痕跡的照片傳留及重現過去的物質，以研究其記錄的一個事實、一個地方、一個人或任何動作，而那個時間，不會再重複。圖片所指涉對象的感知與記錄背後的結構一樣，是煙，是灰燼，是感光微粒，是像素…攝影不僅僅是關於拍攝什麼，而是關於攝影是什麼。 一切都是由有跡可尋的物質碎片，以及歷史和記憶最真實的關係。

​