島上有聲，霧裡有人，夢中有神
/her/ - Island, Fog, God of Dreams
2025
4K 三頻道彩色有聲錄像, 20分鐘
4K 3-channel video, Color, Sound, 20'00"
4K 三頻道彩色有聲錄像, 20分鐘
4K 3-channel video, Color, Sound, 20'00"
作品以馬祖北竿島上的十位女性為故事核心，透過她們的身影、語言與記憶，描繪出馬祖在歷經早年漁村生活、戰地前線與現代化衝擊下的生命姿態。她們各自承載著歷史的印記：從美軍駐島帶來的西化經驗，到心戰喊話播音員的身份回顧；從神靈祈夢的超自然敘事，到面對生命去留時的抉擇。其中最高齡的長者以其被神格化的家族背景，提出一句追問：「眼睛打開要怎麼做夢呢？」折射出整座島嶼的記憶與歷史深度。
馬祖因氣候地緣關係經常被霧氣籠罩，不穩定的視線與流動的聲音，成為連結時代與記憶的媒介。展場以三頻道影像裝置構成，畫面朝著不同方向，聲響彼此重疊。訪談與環境音在空間中游移，如同跨越孤立島嶼的迴響，使觀眾在霧與海的氛圍裡，感受島上女性故事的延展與共鳴。
The work centers on the stories of ten women from Beigan Island. Through their presence, language, and memories, it portrays the ways of life in Matsu, shaped by early fishing village traditions, its role as a military frontline, and the impact of modernization. Each woman carries traces of history: from the Westernized experiences brought by the stationing of U.S. troops, to reflections on their identities as psychological-warfare broadcasters; from supernatural narratives of divine dream-invocations, to decisions faced at the thresholds of life and death. The eldest participant, rooted in a family background that has been sanctified, raises a poignant question: “How can one dream with eyes open?”—a phrase that refracts the island’s depths of memory and history.
Matsu, often shrouded in fog due to its climate and geography, becomes a place where unstable vision and drifting sound serve as mediums that connect eras and memories. The exhibition takes the form of a three-channel video installation, with images oriented in different directions and overlapping layers of sound. Interviews and environmental noises drift across the space like echoes crossing isolated islands, allowing the audience to experience the extension and resonance of women’s stories within the atmosphere of fog and sea.
馬祖因氣候地緣關係經常被霧氣籠罩，不穩定的視線與流動的聲音，成為連結時代與記憶的媒介。展場以三頻道影像裝置構成，畫面朝著不同方向，聲響彼此重疊。訪談與環境音在空間中游移，如同跨越孤立島嶼的迴響，使觀眾在霧與海的氛圍裡，感受島上女性故事的延展與共鳴。
The work centers on the stories of ten women from Beigan Island. Through their presence, language, and memories, it portrays the ways of life in Matsu, shaped by early fishing village traditions, its role as a military frontline, and the impact of modernization. Each woman carries traces of history: from the Westernized experiences brought by the stationing of U.S. troops, to reflections on their identities as psychological-warfare broadcasters; from supernatural narratives of divine dream-invocations, to decisions faced at the thresholds of life and death. The eldest participant, rooted in a family background that has been sanctified, raises a poignant question: “How can one dream with eyes open?”—a phrase that refracts the island’s depths of memory and history.
Matsu, often shrouded in fog due to its climate and geography, becomes a place where unstable vision and drifting sound serve as mediums that connect eras and memories. The exhibition takes the form of a three-channel video installation, with images oriented in different directions and overlapping layers of sound. Interviews and environmental noises drift across the space like echoes crossing isolated islands, allowing the audience to experience the extension and resonance of women’s stories within the atmosphere of fog and sea.
你夢見我時，我已醒來
Awake Before Your Gaze
2025
4K 雙頻道彩色有聲錄像, 20分鐘
4K 2-channel video, Color, Sound, 20'00"
4K 雙頻道彩色有聲錄像, 20分鐘
4K 2-channel video, Color, Sound, 20'00"
作品聚焦在戰後美國駐軍臺灣的歷史裂縫中，兩位非裔臺美混血長者：漢忠與孝忠，透過自身經歷展開回望身份的發聲行動，他們的混血臉孔無法被社會直視、也無法被家族辨識，語言成為他們與臺灣這塊土地的唯一繫留。
一人說客語、一人說台語，這些語言如同他們血緣裡未被理解的部分，自成孤島。他們不懂西方世界的言語，對美國非裔文化感到陌生而疏離。他們的身體背負著一場場與他們無關的殖民想像，卻始終無法離開它的陰影。
作品以雙頻道錄像組成，聚焦於他們的聲音與沉默。影片中兩位被攝者述說語言學習的斷裂經驗，從外貌所遭遇的錯誤凝視，到對語言、家族與地方的真實情感連結。語言不再是傳遞資訊的工具，而是失語經驗的證詞。他們的臉孔、語氣、眼神，並非為了再現歷史，而是拒絕被遺忘。攝影機不靠近、不安撫，僅是見證，回應著被攝者長期以來因外貌與語言錯置所帶來的身份壓力。
《你夢見我時，我已醒來》不是關於認同的建立，而是關於拒絕承載他人所投射的夢。在西方世界從未準備好傾聽他們之前，他們已然清醒，用自己的語言說：「我從來不屬於你們的世界。」
Awake Before Your Gaze explores a hidden chapter in history: the presence of the U.S. military in postwar Taiwan. Through the personal reflections of two elderly African Taiwanese-American men, Han-Chung and Hsiao-Chung, the film reveals how their mixed-race appearance makes them difficult to place in the eyes of society and invisible within their own families. For them, language is the only thread that connects them to the land of Taiwan. One speaks Hakka, the other Taiwanese—languages that, like parts of their identity, remain misunderstood and isolated. They don’t speak English, and they feel distant and unfamiliar with African American culture. Their bodies carry the weight of colonial fantasies they never asked for, yet they can never fully escape their shadow.
The work is presented as a two-channel video, focusing on their voices and their silences. Speaking in first person, they share their broken experiences of learning language, the misreadings of their faces, and their genuine emotional connections to language, family, and home. Here, language is not a tool for exchange but a witness to silence. Their faces, voices, and gazes are not about reenacting history but about refusing to be forgotten. The camera does not move in to comfort or explain; it simply watches, bearing witness to the lifelong identity pressures created by their mismatch of appearance and language.
Awake Before Your Gaze is not a story about finding identity. It is about rejecting the dreams others have projected onto them. Before the West was ever ready to listen, they had already awakened, standing up and speaking in their own languages: “I was never part of your world.”
一人說客語、一人說台語，這些語言如同他們血緣裡未被理解的部分，自成孤島。他們不懂西方世界的言語，對美國非裔文化感到陌生而疏離。他們的身體背負著一場場與他們無關的殖民想像，卻始終無法離開它的陰影。
作品以雙頻道錄像組成，聚焦於他們的聲音與沉默。影片中兩位被攝者述說語言學習的斷裂經驗，從外貌所遭遇的錯誤凝視，到對語言、家族與地方的真實情感連結。語言不再是傳遞資訊的工具，而是失語經驗的證詞。他們的臉孔、語氣、眼神，並非為了再現歷史，而是拒絕被遺忘。攝影機不靠近、不安撫，僅是見證，回應著被攝者長期以來因外貌與語言錯置所帶來的身份壓力。
《你夢見我時，我已醒來》不是關於認同的建立，而是關於拒絕承載他人所投射的夢。在西方世界從未準備好傾聽他們之前，他們已然清醒，用自己的語言說：「我從來不屬於你們的世界。」
Awake Before Your Gaze explores a hidden chapter in history: the presence of the U.S. military in postwar Taiwan. Through the personal reflections of two elderly African Taiwanese-American men, Han-Chung and Hsiao-Chung, the film reveals how their mixed-race appearance makes them difficult to place in the eyes of society and invisible within their own families. For them, language is the only thread that connects them to the land of Taiwan. One speaks Hakka, the other Taiwanese—languages that, like parts of their identity, remain misunderstood and isolated. They don’t speak English, and they feel distant and unfamiliar with African American culture. Their bodies carry the weight of colonial fantasies they never asked for, yet they can never fully escape their shadow.
The work is presented as a two-channel video, focusing on their voices and their silences. Speaking in first person, they share their broken experiences of learning language, the misreadings of their faces, and their genuine emotional connections to language, family, and home. Here, language is not a tool for exchange but a witness to silence. Their faces, voices, and gazes are not about reenacting history but about refusing to be forgotten. The camera does not move in to comfort or explain; it simply watches, bearing witness to the lifelong identity pressures created by their mismatch of appearance and language.
Awake Before Your Gaze is not a story about finding identity. It is about rejecting the dreams others have projected onto them. Before the West was ever ready to listen, they had already awakened, standing up and speaking in their own languages: “I was never part of your world.”
雙生
Doppelganger
2020
4K 單頻道彩色有聲錄像, 40分30秒
4K Single-channel video, Color, Sound, 40'30"
4K 單頻道彩色有聲錄像, 40分30秒
4K Single-channel video, Color, Sound, 40'30"
《雙生》為林羿綺探尋早年金門出洋移民離散軌跡的錄像作品，以出洋家族裡的雙生子預言作為架構，敘述臺灣與印尼三代成員，倆倆在不同時代切片中經歷分離、異地成長、而後落地生根的歷程，企圖以家族的視角出發，述說移民者的生命史，進而追索近代東南亞各國的集體記憶、後殖民經驗以及身份認同議題。
在影像製作上，揉合電影化的場面調度與劇場式表演，由三位演員分飾同輩的兩角，讓雙生子的臉孔串連起已分枝的兩個家庭，與其生命歷程中的種種神秘巧合，並以默片字卡的形式，將彼此述說的不同語言藉由文字表達，影像也以埋藏更多線索與暗語的方式編輯而成。展出現場，《雙生》影像放映在洞窟造景內，象徵時光的隧道也像是金門的坑道──雙生子預言的起源，透過劇場舞台般的場景變換，讓敘事軸線得以橫跨歷史、現代與未來三個時間維度，也縫合起金門、臺灣與印尼間的越洋距離。
Doppelganger is a video work by Yi-Chi Lin that explores early overseas migration in Kinmen. With a narrative focusing on a premonition of “doppelganger” in a family that had migrated abroad, the piece ties together members across three generations in Taiwan and Indonesia and their experiences of diaspora through different periods in time, including separation, growing up in a foreign land, and eventually settling down and building a life there. Departing from the perspective of the family, the work recounts the life history of the migrants and then further explores issues of nationality, history, and identity in Southeast Asia.
In regards to production, the work employs cinematic mise-en-scène and theatrical performance arrangements, and the idea of a doppelganger in a foreign country is presented with actors from three generations each taking on two roles, showing close contrasts of similar mysterious encounters that the two sides have both experienced. Additionally, more clues and codes are hidden in the images presented. With theater-like scene transitions, the narrative spans across three different dimensions of time, traveling from the past, the present, to the future, with the distances between Kinmen, Taiwan, and Indonesia stitched together. For the presentation, the video is screened in a cave-like setting to represent the historical tunnel in Kinmen, which further augments the audience’s corporeal perception, with more possibilities evoked by the images and the space.
在影像製作上，揉合電影化的場面調度與劇場式表演，由三位演員分飾同輩的兩角，讓雙生子的臉孔串連起已分枝的兩個家庭，與其生命歷程中的種種神秘巧合，並以默片字卡的形式，將彼此述說的不同語言藉由文字表達，影像也以埋藏更多線索與暗語的方式編輯而成。展出現場，《雙生》影像放映在洞窟造景內，象徵時光的隧道也像是金門的坑道──雙生子預言的起源，透過劇場舞台般的場景變換，讓敘事軸線得以橫跨歷史、現代與未來三個時間維度，也縫合起金門、臺灣與印尼間的越洋距離。
Doppelganger is a video work by Yi-Chi Lin that explores early overseas migration in Kinmen. With a narrative focusing on a premonition of “doppelganger” in a family that had migrated abroad, the piece ties together members across three generations in Taiwan and Indonesia and their experiences of diaspora through different periods in time, including separation, growing up in a foreign land, and eventually settling down and building a life there. Departing from the perspective of the family, the work recounts the life history of the migrants and then further explores issues of nationality, history, and identity in Southeast Asia.
In regards to production, the work employs cinematic mise-en-scène and theatrical performance arrangements, and the idea of a doppelganger in a foreign country is presented with actors from three generations each taking on two roles, showing close contrasts of similar mysterious encounters that the two sides have both experienced. Additionally, more clues and codes are hidden in the images presented. With theater-like scene transitions, the narrative spans across three different dimensions of time, traveling from the past, the present, to the future, with the distances between Kinmen, Taiwan, and Indonesia stitched together. For the presentation, the video is screened in a cave-like setting to represent the historical tunnel in Kinmen, which further augments the audience’s corporeal perception, with more possibilities evoked by the images and the space.
信使 I - 返向漂流與南洋彼岸
Nanyang Express I : Trans-drifting and South Sea Crossing
2018
4K 單頻道彩色有聲錄像, 15分鐘
4K Single-channel video, Color, Sound, 15'00"
4K 單頻道彩色有聲錄像, 15分鐘
4K Single-channel video, Color, Sound, 15'00"
我以信使的身份，帶著家中保存多年來自南洋印尼的家書，照著信封上模糊的地址與潦草字跡，直接飛往印尼北邊的邦加島探訪並且拍攝紀錄。在早年，金門人大量離鄉前往南洋尋求工作機會，而這離去卻從此生根異鄉，只憑著一封封代寫的家書寄給記憶裡逐漸模糊的原鄉與親人們。於是我重新踏上這條跨島遷移的移民路徑，透過實地拍攝紀錄、信件文本、家族口述記憶、與多種語言混雜溝通的經驗，構築出屬於金門出洋客的生命故事。
Acting as a messenger, I took along the family letters from Indonesia that had been kept in my home for years and visited the Bangka Island located in northern Indonesia — according to the illegible address in scratchy handwriting on the envelope — to conduct video documentation. In the early years, a lot of Kinmenese would go to Southeast Asia to search for job opportunities. Yet, such action left them with no choice but to move away from home and put down roots in another country for good, so all they could do was send ghostwritten family letters to their relatives, whose images, as well as the impression of hometown, had gradually faded from their memories. Hence, I embarked on a journey based on the track of the trans-island migration in my family. Through the artistic practice that incorporates on-site video documentation, family letters/photos, collected oral reminiscence, and personal experience of multilingual communications, I aim to tell the story that profoundly portrays the lives of Kinmenese diasporas.
Acting as a messenger, I took along the family letters from Indonesia that had been kept in my home for years and visited the Bangka Island located in northern Indonesia — according to the illegible address in scratchy handwriting on the envelope — to conduct video documentation. In the early years, a lot of Kinmenese would go to Southeast Asia to search for job opportunities. Yet, such action left them with no choice but to move away from home and put down roots in another country for good, so all they could do was send ghostwritten family letters to their relatives, whose images, as well as the impression of hometown, had gradually faded from their memories. Hence, I embarked on a journey based on the track of the trans-island migration in my family. Through the artistic practice that incorporates on-site video documentation, family letters/photos, collected oral reminiscence, and personal experience of multilingual communications, I aim to tell the story that profoundly portrays the lives of Kinmenese diasporas.
父域安魂曲
Requiem for the Dream of Father
2017
Full-HD 五頻道黑白有聲錄像, 22分鐘
Full-HD 5-channel video, B&W, Sound, 22'00"
Full-HD 五頻道黑白有聲錄像, 22分鐘
Full-HD 5-channel video, B&W, Sound, 22'00"
父域安魂曲為五章節式錄像作品，我戴著象徵父親死亡的頭骨面具，針對童年時交雜著夢與記憶等家庭私密奇觀現場探尋，藉由腦內影像回溯與意識催眠的方法，透過儀式化的扮演過程，親身重演幼年時與父親在黨國幽魂下種種放蕩不羈的奇幻經歷。
我運用影像的不連續性、分割畫面以及閃回蒙太奇形式與薄紗頻幕裝置，讓影像處在一種幽微曖昧的地帶間。而每一章節起始時的台語旁白，則是以母語般的親密姿態，催眠觀者拋開意識走入這場回憶與夢境之中。企圖以一種直視父域亡靈的姿態，讓過往的黑色回憶藉由我的身體重新復魅再生，進行一段屬於自我與父親的雙向安魂。
The Requiem of the Dream of Father is a film divided into five chapters. Wearing the mask of a cranium that symbolises my father’s death, I explore the sites where the intimate memories and dreams of my childhood took place. Through remembering the images and hypnosis as well as a ritual performance, I re-enact my father’s incredible and reckless life experience haunted by the partocracy.
By using fragmented images, split screen editing, flashbacks and gauze screens, I create an ambiguous ambience that permeates the film. The narrator speaking Taiwanese dialect at the beginning of each chapter hypnotises the viewers in their mother tongue, leading them into memories and dreams. The works, with a valiant spirit devoted to my father involved, allows the dark memories to resurrect in my body, and then to initiate the requiem for my father and I.
我運用影像的不連續性、分割畫面以及閃回蒙太奇形式與薄紗頻幕裝置，讓影像處在一種幽微曖昧的地帶間。而每一章節起始時的台語旁白，則是以母語般的親密姿態，催眠觀者拋開意識走入這場回憶與夢境之中。企圖以一種直視父域亡靈的姿態，讓過往的黑色回憶藉由我的身體重新復魅再生，進行一段屬於自我與父親的雙向安魂。
The Requiem of the Dream of Father is a film divided into five chapters. Wearing the mask of a cranium that symbolises my father’s death, I explore the sites where the intimate memories and dreams of my childhood took place. Through remembering the images and hypnosis as well as a ritual performance, I re-enact my father’s incredible and reckless life experience haunted by the partocracy.
By using fragmented images, split screen editing, flashbacks and gauze screens, I create an ambiguous ambience that permeates the film. The narrator speaking Taiwanese dialect at the beginning of each chapter hypnotises the viewers in their mother tongue, leading them into memories and dreams. The works, with a valiant spirit devoted to my father involved, allows the dark memories to resurrect in my body, and then to initiate the requiem for my father and I.
|
#1- 安魂夜
Full-HD 黑白有聲錄像 / 2 分 30 秒 / 2017 不能再前進了。 關鍵字：催眠、反抗者、中美合作、道路終止。 #1- Requiem Night Full-HD Video, B&W, Sound / 2’30” / 2017 Can't move ahead anymore. Key words: Hypnotise, Resistance, China-US co-operation, End of the road. #2- 進堂詠
Full-HD 黑白有聲錄像 / 2 分 30 秒 / 2017 漂泊的家族沒有祖先,所有一切由他開始。 關鍵字：棄村、游擊隊、冷戰遺毒、危險遊戲。 #2- Introitus Full-HD Video, B&W, Sound / 3’30” / 2017 In a drifting family without ancestors, he is the beginning of this life. Key words: abandoned village, libertine, guerrilla, cold war game #3- 奉獻經
Full-HD 黑白有聲錄像 / 3 分 0 秒 / 2017 我與他的勞作時光。 關鍵字：勞作、xxx、戒斷症狀、莫洛科夫雞尾酒。 #3- Offertorium Full-HD Video, B&W, Sound / 3’00” / 2017 Our handicraft time. Key words: creation, xxx, withdrawal symptoms, Molotov cocktail. #4- 羔羊贊
Full-HD 黑白有聲錄像 / 5 分 0 秒 / 2017 第十六個月後，他就此發瘋。 關鍵字：鰍魚、愛慾、電玩機台、迷離夜。 #4- Agnus Dei Full-HD Video, B&W, Sound / 5’00” / 2017 Sixteen months later, he goes mad. Key words: catfish, love and desire, video game station, mystery night. #5- 垂憐經
Full-HD 黑白有聲錄像 / 6 分 0 秒 / 2017 在我們永別的那個早晨。 關鍵字：電擊、碎肉身、未亡人、永世輪迴。 #5- Kyrie Full-HD Video, B&W, Sound / 6’00” / 2017 On the morning we bid farewell. Key words: electric shock, dismembered body parts, survivor, endless reincarnation. |
餘燼三部曲 II : 盛宴
Ember Trilogy II - Feast
2014
2K 單頻道彩色有聲錄像, 31分30秒
2K Single-channel video, Color, Sound, 31'30"
2K 單頻道彩色有聲錄像, 31分30秒
2K Single-channel video, Color, Sound, 31'30"
在田野創作的漫長日子裡，完整見證多個村落興衰，從住戶眾多到陸續搬遷成為空城再到拆除時刻，面對拆除完畢幾近於荒地的遺址中，我開始意識到在荒漠中藝術家自身存在問題，我試圖將身體提供出來當作承載荒地過往幽魂的容器，以一種超越自導自演更像是降靈的方式重演田野裡的過往事跡。在過往與現實、事件與場域、真實與虛構之間，藝術家的身體被置入了大它者的幻見幽魂，企圖以一種怪談與非理性的方式來進行歷史的再次演繹與復魅。
During the long-term residency and field research in the military dependents’ villages in Kaohsiung, my partner and I had witnessed the rise and fall of several villages that were transformed from lively places to waste lands left with only ruins and emptiness, which intrigued me to be conscious of our existences there as artists. I aimed to use our own bodies as containers for the ghosts from the past, as a way that surpasses the self-directed acting but more like a necromancy to reenact the past experiences happened in those fields. In this case, between the past and the present, the event and the field, the reality and the fiction, the artist’s body is placed with the fantasy of the Other so as to reinterpret and re-enchant the history in a mystical and non-rational way.
During the long-term residency and field research in the military dependents’ villages in Kaohsiung, my partner and I had witnessed the rise and fall of several villages that were transformed from lively places to waste lands left with only ruins and emptiness, which intrigued me to be conscious of our existences there as artists. I aimed to use our own bodies as containers for the ghosts from the past, as a way that surpasses the self-directed acting but more like a necromancy to reenact the past experiences happened in those fields. In this case, between the past and the present, the event and the field, the reality and the fiction, the artist’s body is placed with the fantasy of the Other so as to reinterpret and re-enchant the history in a mystical and non-rational way.
復興夢
Revival Malady
2013
Full-HD 單頻道彩色有聲錄像, 24分鐘
Full-HD Single-channel video, Color, Sound, 24'00"
Full-HD 單頻道彩色有聲錄像, 24分鐘
Full-HD Single-channel video, Color, Sound, 24'00"
|
我將眷村廢墟中檢拾到的家庭老照片內的人物獨立出來讓其與自身的事件產生斷裂，再放置於原址上以編導的方式重新構築出一段被攝影者的故事，企圖召喚並重新省視過往的眷村史。在影片許多隱晦的符號中，大量使用的軍人肖像、持槍的小孩帶出當時的政治氛圍，搭配拆除時的奇觀景象(殘破的巷弄、爆裂噴水的管線、著火的草叢、碎裂的玻璃堆等)，影片末了這些老照片中的居民被工業化的機械輾壓，以一種視覺上的暴力暗示了所有的一切終將回歸到廣闊寂蓼的平地中，彷彿村子和這一群人的歷史似乎不曾存在，而復興這個村名，更是如同其字面上與政治上所賦予的意義一般，到頭來終究只是歷史上的一場夢而已。
Through physically cutting out the figures in the old photos, as a way to be detached from the original contexts, collected from the ruins of military dependents’ village, which afterwards were filmed on the original site according to the rewritten stories of those subjects, I attempt to recall and to reexamine the historical past of the military dependents’ village. In the film I used a lot of obscure symbols such as portraits of military personnel, children with guns in their hands that reveal the political atmosphere back then, as well as unusual spectacles during demolition (e.g. ruined lanes and paths, water spurting from broken pipeline, bushes on fire, shattered glasses in a pile). At the end of the film, those cutout figures—the villagers—were run over by industrial machines. Such visual violence indicates that all things would return to its initial state, a wide and lonely plain, as if nothing had ever existed, neither the village nor the people. As its name suggests, the “Fu-Xing (Revival) Village” was ironic both literally and politically, for it still ends up like a vain hope in history. |
|
深山事件
Mountaineering Event
2010
單頻道彩色有聲錄像, 2分05秒
Single-channel video, Color, Sound, 2'05"
單頻道彩色有聲錄像, 2分05秒
Single-channel video, Color, Sound, 2'05"
|
《深山事件》是我2010年剛進入北藝大美術系研究所前時所發表的一件實驗性影像作品，講述一段藝術家意外撿拾到VHS錄影帶的虛構文本，以登山遇難故事帶入神秘的山怪傳說為基底，將拍攝出來的影像進行後設式的斷裂剪輯、甚至是畫面上的破壞，增添虛構文本裡影像的神秘性。
Mountaineering Event is an experimental work released shortly after I was enrolled in Graduate School of Fine Art Department of Taipei National University of the Arts in 2010. It was a fictional story about an artist who accidentally found a VHS tape, of which content was based on the mountaineering death event that brought us to a mysterious legend of mountain troll. Accordingly, I used discontinuity editing as my metacinematic approach and even made static noise effects so as to heighten the sense of mystery involved in this fictional text in terms of its visual representation. |
|
一秒鐘雕塑
One Second Sculpture
2009
單頻道彩色有聲錄像, 1分45秒
Single-channel video, Color, Sound, 1'45"
單頻道彩色有聲錄像, 1分45秒
Single-channel video, Color, Sound, 1'45"
《一秒鐘雕塑》則是我在大學就讀台藝大雕塑系時所拍攝的行為紀錄作品，藉由砸奶油派這種較娛樂化的方式，來探討雕塑裡關於時間與永恆的問題。藉由五組非預期被攻擊的對象，我在砸的當下使用拍立得用攝影的方式作為在那一秒裡雕塑作品的文件，企圖去打破創作媒材之間固有的疆域。
One Second Sculpture is a documentary I made during my university year at the department of sculpture in National Taiwan University of Arts. I attempt to discuss the issue of time and eternity engaged in sculptures through throwing cream pie, which is way more entertaining. By taking shots on a Polaroid camera as soon as those five targets unexpectedly got hit in the face with pies, of which pictures can be seen as the documents of sculptures being made within a second, I tried to break the boundaries between different art media.
One Second Sculpture is a documentary I made during my university year at the department of sculpture in National Taiwan University of Arts. I attempt to discuss the issue of time and eternity engaged in sculptures through throwing cream pie, which is way more entertaining. By taking shots on a Polaroid camera as soon as those five targets unexpectedly got hit in the face with pies, of which pictures can be seen as the documents of sculptures being made within a second, I tried to break the boundaries between different art media.
