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攀爬遊戲 Climbing Games
大人的攀爬架 A Climbing Frame for Adults
兒時的記憶裡，公園中總會有一座巨大的攀爬架，讓孩子在其中穿梭、攀爬。隨著觀看的位置改變，當我凝視那些仍在施工中、鋼筋外露的建築體時，垂直與水平交錯、尺度龐大且鏤空的鋼筋結構，彷彿成了屬於大人的攀爬架。
作品以公園中常見的遊具——攀爬架作為結構原型，並以工業中常見的鋁製支撐構件搭建出一座「大人的攀爬架」。架體中裝置著建案外露鋼筋結構的攝影，將施工中的建築與遊具並置，使原本屬於工地的結構轉化為另一種觀看的對象。同時，縮小比例的人物雕塑與等比例的手掌雕塑攀附於架體之上，使這座結構既像日常中不斷拔地而起的鋼筋水泥，也成為一種關於身體、攀爬與依附的觀看隱喻。
Within childhood memories, a climbing frame often occupies the centre of a playground—a structure where children move through, climb upon, and negotiate their relationship with height, balance, and space. As my perspective shifts toward the exposed steel frameworks of buildings still under construction, these immense structures of intersecting vertical and horizontal lines, with their open and skeletal forms, begin to resemble a climbing frame designed for adults.
Using the familiar playground apparatus as a structural prototype, the work constructs an “adult climbing frame” from industrial aluminium support components. Photographs of exposed steel frameworks from ongoing construction sites are embedded within the structure, placing architectural fragments and playground forms into dialogue. Through this juxtaposition, elements originally belonging to construction sites are transformed into objects of contemplation and bodily imagination.
Scaled-down human sculptures and life-sized hand sculptures are attached to the framework, suggesting acts of climbing, grasping, and attachment. The structure simultaneously evokes the reinforced concrete landscapes that continuously rise throughout contemporary cities and becomes a metaphorical space for considering the relationships between the body, movement, and the search for support within uncertain environments.
作品以公園中常見的遊具——攀爬架作為結構原型，並以工業中常見的鋁製支撐構件搭建出一座「大人的攀爬架」。架體中裝置著建案外露鋼筋結構的攝影，將施工中的建築與遊具並置，使原本屬於工地的結構轉化為另一種觀看的對象。同時，縮小比例的人物雕塑與等比例的手掌雕塑攀附於架體之上，使這座結構既像日常中不斷拔地而起的鋼筋水泥，也成為一種關於身體、攀爬與依附的觀看隱喻。
Within childhood memories, a climbing frame often occupies the centre of a playground—a structure where children move through, climb upon, and negotiate their relationship with height, balance, and space. As my perspective shifts toward the exposed steel frameworks of buildings still under construction, these immense structures of intersecting vertical and horizontal lines, with their open and skeletal forms, begin to resemble a climbing frame designed for adults.
Using the familiar playground apparatus as a structural prototype, the work constructs an “adult climbing frame” from industrial aluminium support components. Photographs of exposed steel frameworks from ongoing construction sites are embedded within the structure, placing architectural fragments and playground forms into dialogue. Through this juxtaposition, elements originally belonging to construction sites are transformed into objects of contemplation and bodily imagination.
Scaled-down human sculptures and life-sized hand sculptures are attached to the framework, suggesting acts of climbing, grasping, and attachment. The structure simultaneously evokes the reinforced concrete landscapes that continuously rise throughout contemporary cities and becomes a metaphorical space for considering the relationships between the body, movement, and the search for support within uncertain environments.
攀爬遊戲 Climbing Games
〈攀爬遊戲〉拍攝於新北市與臺北市的公園與建築工地。作品從孩童在遊具間穿梭的景象開始，透過環境聲與文字字幕的推進，逐漸把「攀爬」轉化為一種觀看城市與成長過程的方式。
影片沒有旁白，語言以字幕出現，像是與影像並行的另一條時間。記憶中的攀爬架被反覆指認為梯子、框架、遊具，也像牢籠，它既提供向上的路徑，同時標示出可被行動的範圍。不同的人在其中展現出不同的速度，有人迅速抵達頂端，有人仍停留在結構之內。
當鏡頭轉向城市，尚未完工的建築量體、交錯的鋼筋與開放的樓層，形成尺度更為巨大的攀爬場。工人在其中移動、上下、穿梭，彷彿進入了屬於成人的遊戲。只是這場遊戲的樣貌、其中的感受與位置，並沒有標準答案。
隨著拆除與興建不斷循環，熟悉的地景持續被改寫。人在其中調整步伐、改變方向、尋找暫時的支撐。〈攀爬遊戲〉讓「向上」不再只是抵達某處，而是一種反覆發生的動作，在開放與限制同時存在的條件下，每個人都在框架之中移動，像參與一場仍在進行的遊戲。
Climbing Games was filmed in parks and construction sites across Taipei and New Taipei City. Beginning with observations of children moving through playground structures, the work gradually shifts toward scenes of urban construction, using ambient sound and on-screen text to trace different forms of climbing within the built environment.
Presented without voice-over narration, the video unfolds through a sequence of subtitles that run alongside the images. Recalling childhood experiences of playground equipment, the text describes climbing frames as ladders, structures, playgrounds, and cages at once—spaces that enable movement while also defining its limits. Within these frameworks, different bodies navigate at different speeds and occupy different positions.
As the camera turns toward construction sites, exposed steel frameworks, unfinished volumes, and skeletal architectures appear as enlarged counterparts to the playground structures seen earlier in the film. Workers move through these spaces, climbing, crossing, and navigating partially completed forms. The construction site emerges as a kind of adult playground, governed by another set of rules and conditions.
Set against a city in continual transformation, where demolition and construction repeatedly reshape the urban landscape, Climbing Games reflects on adaptation as an ongoing process. Climbing becomes more than a physical action; it appears as a recurring gesture embedded in everyday life, work, and urban development. Through the parallel between playgrounds and construction sites, the work considers how individuals move within structures that are constantly being built, modified, and inhabited.
影片沒有旁白，語言以字幕出現，像是與影像並行的另一條時間。記憶中的攀爬架被反覆指認為梯子、框架、遊具，也像牢籠，它既提供向上的路徑，同時標示出可被行動的範圍。不同的人在其中展現出不同的速度，有人迅速抵達頂端，有人仍停留在結構之內。
當鏡頭轉向城市，尚未完工的建築量體、交錯的鋼筋與開放的樓層，形成尺度更為巨大的攀爬場。工人在其中移動、上下、穿梭，彷彿進入了屬於成人的遊戲。只是這場遊戲的樣貌、其中的感受與位置，並沒有標準答案。
隨著拆除與興建不斷循環，熟悉的地景持續被改寫。人在其中調整步伐、改變方向、尋找暫時的支撐。〈攀爬遊戲〉讓「向上」不再只是抵達某處，而是一種反覆發生的動作，在開放與限制同時存在的條件下，每個人都在框架之中移動，像參與一場仍在進行的遊戲。
Climbing Games was filmed in parks and construction sites across Taipei and New Taipei City. Beginning with observations of children moving through playground structures, the work gradually shifts toward scenes of urban construction, using ambient sound and on-screen text to trace different forms of climbing within the built environment.
Presented without voice-over narration, the video unfolds through a sequence of subtitles that run alongside the images. Recalling childhood experiences of playground equipment, the text describes climbing frames as ladders, structures, playgrounds, and cages at once—spaces that enable movement while also defining its limits. Within these frameworks, different bodies navigate at different speeds and occupy different positions.
As the camera turns toward construction sites, exposed steel frameworks, unfinished volumes, and skeletal architectures appear as enlarged counterparts to the playground structures seen earlier in the film. Workers move through these spaces, climbing, crossing, and navigating partially completed forms. The construction site emerges as a kind of adult playground, governed by another set of rules and conditions.
Set against a city in continual transformation, where demolition and construction repeatedly reshape the urban landscape, Climbing Games reflects on adaptation as an ongoing process. Climbing becomes more than a physical action; it appears as a recurring gesture embedded in everyday life, work, and urban development. Through the parallel between playgrounds and construction sites, the work considers how individuals move within structures that are constantly being built, modified, and inhabited.
攀爬架 系列攝影 Climbing Frame photographic series
兒時的記憶裡，公園中總會有一座巨大的攀爬架，讓小朋友在其中穿梭、攀爬。隨著觀看的位置改變，當我凝視那些仍在施工中、鋼筋外露的建築體時，垂直與水平的鋼筋交錯、尺度龐大且鏤空的結構，彷彿成了屬於大人的攀爬架。
In my childhood memories, parks were always home to large climbing frames where children moved through and climbed freely. As my position of viewing shifts, unfinished buildings with exposed steel frames come into focus. Their vast, open frameworks—defined by intersecting verticals and horizontals—begin to resemble climbing frames for adults.
In my childhood memories, parks were always home to large climbing frames where children moved through and climbed freely. As my position of viewing shifts, unfinished buildings with exposed steel frames come into focus. Their vast, open frameworks—defined by intersecting verticals and horizontals—begin to resemble climbing frames for adults.
攀爬的人 系列 The Climbers series
攀爬攀爬架的手，以及攀爬鋼筋結構的人。
Hands and bodies in the act of climbing.
Hands and bodies in the act of climbing.
攀爬的輪廓 系列 Climbing Contours series
隨著都市更新與建案的興建，城市風景正悄然改變。原本熟悉的風景與天空，因拔地而起的鋼筋水泥與施工天車而逐漸改變，如同圖層不斷疊加，在既有的景觀之上覆寫出新的城市樣貌。
作品以攝影與裱框的物質性為出發，玻璃成為我描繪的表面，我在相框的玻璃上刻畫隨時間變化的鋼筋結構與逐漸消失的天車輪廓。玻璃之後，是建案背後的風景與天空，攝影則成為刻畫痕跡的背景圖層。
這些雕刻於玻璃上的線條，像是速寫的筆觸，也像是若隱若現的輪廓。透過影像、玻璃與刻痕之間的層次關係，我試著描繪並留下城市更新過程中，容易被忽略、卻持續影響觀看的結構痕跡。
As urban renewal and new developments reshape the city, familiar landscapes and horizons gradually transform. Reinforced concrete structures and construction cranes rise into view, overlaying existing surroundings like accumulating layers, rewriting the urban image upon what was already there.
Beginning with the materiality of photography and framing, the work treats glass as a surface of inscription. On the glass of each frame, I trace the changing forms of exposed steel structures and the fading silhouettes of construction cranes over time. Behind these engraved surfaces lies the landscape and sky beyond the construction sites, while the photographic image functions as a background layer upon which these traces emerge.
The lines carved into the glass resemble gestures of drawing, existing somewhere between sketches and fading contours. Through the layered relationship between image, glass, and incision, the work seeks to record the structural traces embedded within processes of urban transformation—elements that often remain unnoticed, yet continue to shape the ways in which we perceive and inhabit the city.
作品以攝影與裱框的物質性為出發，玻璃成為我描繪的表面，我在相框的玻璃上刻畫隨時間變化的鋼筋結構與逐漸消失的天車輪廓。玻璃之後，是建案背後的風景與天空，攝影則成為刻畫痕跡的背景圖層。
這些雕刻於玻璃上的線條，像是速寫的筆觸，也像是若隱若現的輪廓。透過影像、玻璃與刻痕之間的層次關係，我試著描繪並留下城市更新過程中，容易被忽略、卻持續影響觀看的結構痕跡。
As urban renewal and new developments reshape the city, familiar landscapes and horizons gradually transform. Reinforced concrete structures and construction cranes rise into view, overlaying existing surroundings like accumulating layers, rewriting the urban image upon what was already there.
Beginning with the materiality of photography and framing, the work treats glass as a surface of inscription. On the glass of each frame, I trace the changing forms of exposed steel structures and the fading silhouettes of construction cranes over time. Behind these engraved surfaces lies the landscape and sky beyond the construction sites, while the photographic image functions as a background layer upon which these traces emerge.
The lines carved into the glass resemble gestures of drawing, existing somewhere between sketches and fading contours. Through the layered relationship between image, glass, and incision, the work seeks to record the structural traces embedded within processes of urban transformation—elements that often remain unnoticed, yet continue to shape the ways in which we perceive and inhabit the city.
屋頂 Rooftop
這張攝影作品是我家屋頂所能看見的風景，最前景是屋齡五、六十年的公寓，其後是較新的社區住宅，再往上延伸至商業大樓，而遠景則是正在興建中的新建案。一層又一層的建築結構，逐漸堆疊出我們日常所觀看的城市風景。無形中被堆疊出來的層級，好像也成為我們在社會中無意識攀爬的動力。
我使用長焦鏡頭壓縮空間的視覺效果，使不同年代、不同高度的建築層次被扁平地收束在同一個畫面之中，讓建築與建築之間的距離與尺度在影像中變得模糊而重疊。
This photographic work depicts the view from the rooftop of my home. In the foreground stands an apartment building approximately fifty to sixty years old; beyond it are more recent residential developments, followed by commercial high-rises, and in the distance, a construction site still in progress. Layer upon layer, these architectural structures accumulate to form the urban landscape we encounter in everyday life. This gradual stratification, though seemingly incidental, suggests an implicit hierarchy—one that subtly drives an unconscious impulse to ascend within the social order.
Using a telephoto lens to compress spatial depth, the image flattens buildings from different periods and elevations into a single visual plane. Distances and scales between structures become blurred and overlapping, producing a condensed field in which temporal and spatial distinctions are visually destabilised.
我使用長焦鏡頭壓縮空間的視覺效果，使不同年代、不同高度的建築層次被扁平地收束在同一個畫面之中，讓建築與建築之間的距離與尺度在影像中變得模糊而重疊。
This photographic work depicts the view from the rooftop of my home. In the foreground stands an apartment building approximately fifty to sixty years old; beyond it are more recent residential developments, followed by commercial high-rises, and in the distance, a construction site still in progress. Layer upon layer, these architectural structures accumulate to form the urban landscape we encounter in everyday life. This gradual stratification, though seemingly incidental, suggests an implicit hierarchy—one that subtly drives an unconscious impulse to ascend within the social order.
Using a telephoto lens to compress spatial depth, the image flattens buildings from different periods and elevations into a single visual plane. Distances and scales between structures become blurred and overlapping, producing a condensed field in which temporal and spatial distinctions are visually destabilised.
天車 Sky Cranes
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