2019

Photography 

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I have been working on a photography project centered around "traces," exploring how photography, as a medium, exists between conceptual, fictional, and narrative realms and shapes our perception of the world.

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"Remnants " captures burnt materials on the ceiling mixed with black soot and ash.. The content of the image is abstract and ambiguous, resembling the surface of a distant planet or a heap of sand, with undefined and elusive meanings. These images do not explicitly present specific content, leaving the viewers to interpret and reconstruct something with uncertain ideas, The image stimulates the viewers' imagination, guiding them to search for clues, uncover the content and events by matching and reconstructing with uncertain thoughts. Memories become vital evidence, like archaeology, resurrecting what has vanished or been obscured. Even though the viewers may not discern it clearly, they can find explanations through subtle details from marks, traces and substances.

 

The photographs of traces preserve and represent the matter of the past, allowing for study the facts,  places, individuals or any action they record, and the moments that can never be repeated. The perception of the depicted objects in the image is as significant as the underlying structure of recording, whether it is smoke, ashes, photosensitive particles, or pixels…  Photography is not just about what to photograph, but about what is photography, the essence of itself.  Everything is traceable fragments of matter  intricately connected to history and memory.

 

我一直以“痕跡”為主題進行攝影項目，研究攝影作為一種介於概念、虛構和敘事之間的媒介，如何構建我們對世界的感知。

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《餘燼》呈現了天花板上燒焦的建築材料和黑煙灰的混合物。影像的內容抽象模糊，宛如某個星球的表面或堆積的沙堆，意義未定義、模棱兩可。它沒有明確呈現具體內容，觀眾只能以不確定的想法去配對參照物，試圖重建出一些東西。圖像激發觀看者的想像力，引導他們在思考中尋找線索，揭示其中的內容與事件，與不確定的想法配對及重建。記憶成為重要的證據，就像考古學一樣，重新呈現已消失或被遮蓋的事物。縱使觀看者無法清晰辨識，卻能從標記、痕跡和物質等微小細節等說明。

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痕跡的照片保留並再現過去的物質，以研究它們所記錄的事實、地方、人物或任何行動，這些瞬間永遠無法重複。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。一切都由可追溯的物質碎片和與歷史和記憶最為密切的關聯所構成。

 

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