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河邊的巨大之物 Huge Things by the Rivers
橋樑之下 Under the Bridges
作品從我長期在河堤、高架橋下與河邊移動的經驗出發，將橋樑、高架道路、河堤等基礎設施的局部造型拆解、轉化為一組雕塑裝置。展場中的斜坡、柱體、量體與支撐結構散置於空間之中，隨著觀者的移動不斷重新組合，如同橋下空間裡層層交疊的建築片段，也構成一種介於展場與現場之間的觀看狀態。
這些雕塑並非建築的縮小模型，而是取自橋下結構的局部形態，重新回應人在其中行走時所感受到的尺度、方向與身體位置。當觀者繞行至作品背面，原本厚重的水泥量體轉變為中空的木作結構，建構方式與支撐痕跡隨之顯露。建築與雕塑、重量與輕盈、表面與內部在觀看過程中相互轉換，也讓基礎設施不再只是穿越城市的背景，而成為一種持續塑造觀看經驗的空間結構。
雕塑內部封裝著拍攝於橋下的攝影燈片，使每件作品同時也是一座發光的攝影裝置。影像以黑白中片幅底片搭配長焦鏡頭拍攝，將視線集中於橋體的局部細節、表面紋理與結構 關係，對應雕塑同樣取自建築局部的形式。攝影不再只是建築的紀錄，而是另一種觀看的切片；雕塑也不只是影像的載體，而是延續觀看的方法。當觀者穿梭於作品之間，觀看攝影，也觀看雕塑，身體在展場中的移動逐漸與橋下的空間經驗重疊，使觀看成為一種重新進入基礎設施之中的方式。
The work emerges from my sustained experience of moving through riverbanks, the spaces beneath elevated bridges, and the riverfront terrain. It begins with the extraction and reconfiguration of infrastructural fragments—bridges, elevated roads, and levees—translated into a series of sculptural elements. Within the exhibition space, slopes, volumes, columns, and supporting structures are dispersed and reassembled through the viewer’s movement, producing shifting spatial relations that echo the layered, fragmented conditions of spaces beneath infrastructure. The installation thus forms a mode of viewing that exists between the exhibition space and the sites it references.
These sculptures are not scale models of architecture, but spatial translations of infrastructural fragments encountered in situ. They respond to how scale, direction, and bodily position are registered while moving through these environments. As viewers navigate around each element, what initially appears as a dense cement mass reveals an internal wooden structure. Construction logic and structural support become visible, shifting the reading between surface and interior, weight and lightness, construction and form. Through this transformation, infrastructure is no longer perceived as a background to urban movement, but as a spatial condition that continuously organizes perception and orientation.
Within each sculptural body, photographic light-boxes are embedded, making every object simultaneously a luminous photographic device. The images are produced from black-and-white medium format film using a telephoto lens, concentrating attention on fragments of bridges—their textures, surfaces, and structural relations. In parallel with the sculptural logic of fragmentation, the photographic works operate as isolated cuts within a broader field of vision. Photography here is no longer a document of architecture, but a spatial segment of looking; sculpture is not merely a vessel for images, but an extension of a method of viewing.
As viewers move through the installation, encountering both photographic surfaces and sculptural volumes, the act of looking becomes entangled with bodily navigation. Movement through the exhibition space begins to overlap with the perceptual conditions of moving beneath infrastructure, where viewing is not detached observation but a situated experience shaped by built environments.
這些雕塑並非建築的縮小模型，而是取自橋下結構的局部形態，重新回應人在其中行走時所感受到的尺度、方向與身體位置。當觀者繞行至作品背面，原本厚重的水泥量體轉變為中空的木作結構，建構方式與支撐痕跡隨之顯露。建築與雕塑、重量與輕盈、表面與內部在觀看過程中相互轉換，也讓基礎設施不再只是穿越城市的背景，而成為一種持續塑造觀看經驗的空間結構。
雕塑內部封裝著拍攝於橋下的攝影燈片，使每件作品同時也是一座發光的攝影裝置。影像以黑白中片幅底片搭配長焦鏡頭拍攝，將視線集中於橋體的局部細節、表面紋理與結構 關係，對應雕塑同樣取自建築局部的形式。攝影不再只是建築的紀錄，而是另一種觀看的切片；雕塑也不只是影像的載體，而是延續觀看的方法。當觀者穿梭於作品之間，觀看攝影，也觀看雕塑，身體在展場中的移動逐漸與橋下的空間經驗重疊，使觀看成為一種重新進入基礎設施之中的方式。
The work emerges from my sustained experience of moving through riverbanks, the spaces beneath elevated bridges, and the riverfront terrain. It begins with the extraction and reconfiguration of infrastructural fragments—bridges, elevated roads, and levees—translated into a series of sculptural elements. Within the exhibition space, slopes, volumes, columns, and supporting structures are dispersed and reassembled through the viewer’s movement, producing shifting spatial relations that echo the layered, fragmented conditions of spaces beneath infrastructure. The installation thus forms a mode of viewing that exists between the exhibition space and the sites it references.
These sculptures are not scale models of architecture, but spatial translations of infrastructural fragments encountered in situ. They respond to how scale, direction, and bodily position are registered while moving through these environments. As viewers navigate around each element, what initially appears as a dense cement mass reveals an internal wooden structure. Construction logic and structural support become visible, shifting the reading between surface and interior, weight and lightness, construction and form. Through this transformation, infrastructure is no longer perceived as a background to urban movement, but as a spatial condition that continuously organizes perception and orientation.
Within each sculptural body, photographic light-boxes are embedded, making every object simultaneously a luminous photographic device. The images are produced from black-and-white medium format film using a telephoto lens, concentrating attention on fragments of bridges—their textures, surfaces, and structural relations. In parallel with the sculptural logic of fragmentation, the photographic works operate as isolated cuts within a broader field of vision. Photography here is no longer a document of architecture, but a spatial segment of looking; sculpture is not merely a vessel for images, but an extension of a method of viewing.
As viewers move through the installation, encountering both photographic surfaces and sculptural volumes, the act of looking becomes entangled with bodily navigation. Movement through the exhibition space begins to overlap with the perceptual conditions of moving beneath infrastructure, where viewing is not detached observation but a situated experience shaped by built environments.
河邊故事 The Riverside Tales
長年生活於河岸周邊的城市之中，我的成長經驗始終與河流、河堤、橋樑及橋下空間交織在一起。沿著河岸移動、停留與觀看，逐漸成為一種反覆發生的日常，也使這些風景在時間的累積之中，與不同生命階段的記憶彼此重疊。家人、朋友、愛人，以及不同時期的自己，都曾經出現在這些河邊風景之中。隨著城市持續改變，河流與橋樑仍不斷承載著不同世代留下的生活軌跡，也見證著人與地方之間持續變動的關係。
作品從長時間遊走於河岸、堤外空間與橋下區域的身體經驗出發，以第一人稱視角展開敘事。鏡頭沿著河流緩慢移動，在行走與停留之間持續觀看這些熟悉的風景；長焦距鏡頭則將遠方的景物拉近，壓縮空間的距離，也使觀看停留於建築、人物與河岸的細節之間。影像穿插無聲的字幕獨白，搭配現場錄製的環境聲響，使畫面、文字與聲音共同構成一種介於紀錄、回憶與敘事之間的觀看狀態。
作品並未試圖重現某段特定的故事，而是在一次次觀看與經過之中，讓風景逐漸成為記憶生成的場所。當鏡頭沿著河岸緩慢前行，觀看不再只是對風景的凝視，而是在移動之中重新感知河流、橋樑與城市基礎設施如何持續形塑人的生活經驗，也讓那些曾經發生於此的片段，在觀看之中再次浮現。
Having grown up in a city shaped by its rivers, my daily life has long unfolded alongside riverbanks, levees, bridges, and the spaces beneath them. Repeatedly walking, pausing, and looking along these routes has become an enduring way of encountering the city. Over time, these landscapes have accumulated layers of lived experience, where different moments of life quietly overlap. Family, friends, loved ones, and different versions of myself have all passed through these places. While the city continues to transform, its rivers and infrastructure persist, carrying traces of everyday life across generations and continually reshaping the relationship between people and their surroundings.
The Riverside Tales emerges from my sustained experience of moving through riverbanks, floodplains, and the spaces beneath bridges, unfolding through a first-person perspective. The camera advances slowly along the river, alternating between movement and stillness. Filmed with a telephoto lens, distant elements are optically compressed, drawing attention to architectural structures, passing figures, and the textures of the built landscape. Silent subtitles appear intermittently alongside location recordings, allowing image, text, and sound to construct a mode of viewing situated between observation, lived experience, and narrative.
The work does not seek to reconstruct a particular story. Instead, it considers how moving through a landscape continually shapes the ways we see and inhabit it. As the camera follows the river’s course, looking becomes a spatial practice rather than a detached act of observation. Rivers, bridges, and urban infrastructure are experienced not simply as physical structures, but as frameworks that organize movement, perception, and everyday life. Within this slow progression, fragments of past encounters quietly resurface—not as fixed memories, but as experiences that remain embedded in the act of looking.
作品從長時間遊走於河岸、堤外空間與橋下區域的身體經驗出發，以第一人稱視角展開敘事。鏡頭沿著河流緩慢移動，在行走與停留之間持續觀看這些熟悉的風景；長焦距鏡頭則將遠方的景物拉近，壓縮空間的距離，也使觀看停留於建築、人物與河岸的細節之間。影像穿插無聲的字幕獨白，搭配現場錄製的環境聲響，使畫面、文字與聲音共同構成一種介於紀錄、回憶與敘事之間的觀看狀態。
作品並未試圖重現某段特定的故事，而是在一次次觀看與經過之中，讓風景逐漸成為記憶生成的場所。當鏡頭沿著河岸緩慢前行，觀看不再只是對風景的凝視，而是在移動之中重新感知河流、橋樑與城市基礎設施如何持續形塑人的生活經驗，也讓那些曾經發生於此的片段，在觀看之中再次浮現。
Having grown up in a city shaped by its rivers, my daily life has long unfolded alongside riverbanks, levees, bridges, and the spaces beneath them. Repeatedly walking, pausing, and looking along these routes has become an enduring way of encountering the city. Over time, these landscapes have accumulated layers of lived experience, where different moments of life quietly overlap. Family, friends, loved ones, and different versions of myself have all passed through these places. While the city continues to transform, its rivers and infrastructure persist, carrying traces of everyday life across generations and continually reshaping the relationship between people and their surroundings.
The Riverside Tales emerges from my sustained experience of moving through riverbanks, floodplains, and the spaces beneath bridges, unfolding through a first-person perspective. The camera advances slowly along the river, alternating between movement and stillness. Filmed with a telephoto lens, distant elements are optically compressed, drawing attention to architectural structures, passing figures, and the textures of the built landscape. Silent subtitles appear intermittently alongside location recordings, allowing image, text, and sound to construct a mode of viewing situated between observation, lived experience, and narrative.
The work does not seek to reconstruct a particular story. Instead, it considers how moving through a landscape continually shapes the ways we see and inhabit it. As the camera follows the river’s course, looking becomes a spatial practice rather than a detached act of observation. Rivers, bridges, and urban infrastructure are experienced not simply as physical structures, but as frameworks that organize movement, perception, and everyday life. Within this slow progression, fragments of past encounters quietly resurface—not as fixed memories, but as experiences that remain embedded in the act of looking.
堤外風景 Landscape Beyond the Riverbank
在經過河堤或橋下的日常移動中，偶爾會在視線的縫隙裡遇見某些被高架結構框住的風景：一段河道的開展、一座跨越水面的橋體，或是位於堤外的空曠場域。這些景象往往在短暫的停留之中被反覆觀看，有時甚至會記下位置，在不同的時間再次返回現場，以攝影的方式重新進入同一個觀看位置。
作品以橫跨新店溪與大漢溪的橋樑與其堤外空間為主要拍攝對象，自2022年10月起，以新北市板橋區為出發點，持續拍攝橋樑下方與河堤外的風景。這些區域同時包含高密度的交通流動與近乎空置的河岸場域，橋上與橋下形成兩種截然不同的時間節奏與空間狀態：一側是持續移動的城市流線，另一側則是被植被與水域緩慢佔據的開放地景。橋樑在其中成為一種結構性的分界，同時組織並切割這兩種觀看經驗。
攝影使用黑白中片幅底片進行，拍攝過程相對緩慢，使觀看得以停留在橋體、河面與堤外空間的細部之中。不同的構圖、視角與焦段，記錄的不僅是風景本身，也同時標示了我在不同時間與這些場域之間所維持的距離與位置關係。這些影像不作為單純的地景紀錄，而是在反覆接近與離開之間，形成一種持續被更新的觀看軌跡。
展覽中，攝影以類似堤外空間的壁燈形式呈現，並依附於展場的動線進行排列，使觀看沿著單一的行進路徑展開，如同沿著河流移動一般。觀者在行走之中依序經過不同的橋樑與其下方的堤外風景，使展場中的觀看節奏與河岸移動的經驗彼此重疊，構成一種被基礎設施與地景共同組織的觀看方式。
During everyday movement along riverbanks and beneath elevated bridges, certain scenes occasionally appear within the gaps of infrastructural vision: an opening of the river, a bridge spanning across water, or an empty stretch of terrain beyond the levee. These moments are often encountered briefly, yet repeatedly observed. At times, I return to the same locations with photographic equipment, re-entering these sites through the act of looking.
The work focuses on bridges crossing the Xindian River and the Dahan River, and the spaces beyond the riverbank. Beginning in October 2022, and based in Banqiao, New Taipei City, I have been photographing the areas beneath bridges and along the river’s edge. These sites hold a tension between dense infrastructural circulation and near-empty riverside landscapes. The bridge structures produce a spatial division between two contrasting conditions: one defined by continuous urban movement, and the other by a slower, vegetated, and water-shaped terrain. Within this structure, the bridge operates as a spatial threshold that organizes and separates different modes of perception.
The photographs are produced using black-and-white medium-format film. The relatively slow process of image-making allows attention to remain on the subtle details of bridges, water surfaces, and peripheral landscapes. Different framings, viewpoints, and focal lengths do not only describe the landscape, but also register my shifting positional relationship to these sites over time. Rather than functioning as documentary images, they form a continuous trajectory of looking shaped by repeated approaches and departures.
In the installation, the photographs are presented as wall-mounted light works, echoing the logic of lighting found in riverside environments. They are arranged according to the circulation of the exhibition space, structuring the viewer’s movement along a single directional path. As visitors walk through the exhibition, they encounter a sequence of bridges and their surrounding riverbank conditions, where the temporal rhythm of the gallery begins to overlap with the experience of moving along the river itself.
作品以橫跨新店溪與大漢溪的橋樑與其堤外空間為主要拍攝對象，自2022年10月起，以新北市板橋區為出發點，持續拍攝橋樑下方與河堤外的風景。這些區域同時包含高密度的交通流動與近乎空置的河岸場域，橋上與橋下形成兩種截然不同的時間節奏與空間狀態：一側是持續移動的城市流線，另一側則是被植被與水域緩慢佔據的開放地景。橋樑在其中成為一種結構性的分界，同時組織並切割這兩種觀看經驗。
攝影使用黑白中片幅底片進行，拍攝過程相對緩慢，使觀看得以停留在橋體、河面與堤外空間的細部之中。不同的構圖、視角與焦段，記錄的不僅是風景本身，也同時標示了我在不同時間與這些場域之間所維持的距離與位置關係。這些影像不作為單純的地景紀錄，而是在反覆接近與離開之間，形成一種持續被更新的觀看軌跡。
展覽中，攝影以類似堤外空間的壁燈形式呈現，並依附於展場的動線進行排列，使觀看沿著單一的行進路徑展開，如同沿著河流移動一般。觀者在行走之中依序經過不同的橋樑與其下方的堤外風景，使展場中的觀看節奏與河岸移動的經驗彼此重疊，構成一種被基礎設施與地景共同組織的觀看方式。
During everyday movement along riverbanks and beneath elevated bridges, certain scenes occasionally appear within the gaps of infrastructural vision: an opening of the river, a bridge spanning across water, or an empty stretch of terrain beyond the levee. These moments are often encountered briefly, yet repeatedly observed. At times, I return to the same locations with photographic equipment, re-entering these sites through the act of looking.
The work focuses on bridges crossing the Xindian River and the Dahan River, and the spaces beyond the riverbank. Beginning in October 2022, and based in Banqiao, New Taipei City, I have been photographing the areas beneath bridges and along the river’s edge. These sites hold a tension between dense infrastructural circulation and near-empty riverside landscapes. The bridge structures produce a spatial division between two contrasting conditions: one defined by continuous urban movement, and the other by a slower, vegetated, and water-shaped terrain. Within this structure, the bridge operates as a spatial threshold that organizes and separates different modes of perception.
The photographs are produced using black-and-white medium-format film. The relatively slow process of image-making allows attention to remain on the subtle details of bridges, water surfaces, and peripheral landscapes. Different framings, viewpoints, and focal lengths do not only describe the landscape, but also register my shifting positional relationship to these sites over time. Rather than functioning as documentary images, they form a continuous trajectory of looking shaped by repeated approaches and departures.
In the installation, the photographs are presented as wall-mounted light works, echoing the logic of lighting found in riverside environments. They are arranged according to the circulation of the exhibition space, structuring the viewer’s movement along a single directional path. As visitors walk through the exhibition, they encounter a sequence of bridges and their surrounding riverbank conditions, where the temporal rhythm of the gallery begins to overlap with the experience of moving along the river itself.
天梯A3 Ladder A3
長期沿著河堤移動的過程中，河岸對面一座高聳的電波塔始終反覆進入我的視線。由於外型如同一座通往天空的梯子，在尚未理解其用途之前，它更像是一個存在於城市邊緣的未知結構，持續吸引著我的觀看。後來透過拍攝與查閱資料，才得知它是一座已停用的廣播電波塔。這段重新認識建築的過程，也重新連結起關於廣播的生活經驗——兒時在父親的車上聽著廣播入睡，醒來時已回到家中；如今，廣播逐漸被串流音樂與 Podcast 取代，而這座電波塔依然矗立於河岸，持續作為城市景觀的一部分，默默見證不同世代媒介與移動方式的轉變。
作品將約二十層樓高的電波塔依照原始比例拆分為數百張 A3 紙輸出，再由藝術家逐張拼接成約三十八公尺長的垂直卷軸，懸掛於展場之中。原本難以接近的垂直尺度，被轉化為可沿著展場逐步觀看的身體經驗；觀者在移動之中，重新感知建築的高度，以及自身與結構之間的尺度關係。
作品保留了電波塔的實際比例，卻將原本由鋼構組成的建築轉譯為輕薄的紙張。建築的重量感與紙張的脆弱性在同一個物件中並置，使觀看不再建立於建築本身，而是在材料、尺度與身體移動之間持續轉換。當觀者站立於作品前，視線沿著紙張向上延伸，展場中的垂直空間逐漸與河岸遠方的觀看經驗重疊，讓一座原本存在於城市景觀中的基礎設施，重新成為一種關於尺度、觀看與移動的空間經驗。
For many years, while travelling along the riverside levees, my attention repeatedly returned to a tall transmission tower standing on the opposite bank. Before I understood its function, its ladder-like silhouette appeared as an unfamiliar structure embedded within the urban landscape, inviting speculation about its scale and height. Through photographing the tower and later researching its history, I learned that it was a decommissioned radio transmission tower. This process of re-encountering the structure also reconnected it to lived experiences of radio: falling asleep to broadcasts while riding in my father’s car, only to wake at home, with distant voices lingering somewhere between movement and arrival. Today, radio has largely given way to streaming platforms and podcasts, while the tower remains fixed within the landscape, quietly bearing witness to changing technologies, infrastructures, and patterns of everyday mobility.
The work reconstructs the approximately twenty-storey tower at full scale by dividing its image across hundreds of A3 prints, each assembled by hand into a suspended scroll measuring nearly thirty-eight metres in length. Installed vertically within the exhibition space, the work translates an otherwise inaccessible architectural scale into an embodied experience of looking. As viewers move through the gallery, the tower’s height is no longer perceived from a distance but encountered through bodily navigation, continually recalibrating the relationship between the viewer and the structure.
While preserving the tower’s original proportions, the work transforms a rigid steel structure into a fragile surface of paper. Solidity gives way to lightness, permanence to vulnerability, allowing material, scale, and perception to shift simultaneously. As the viewer’s gaze travels upward through the suspended image, the vertical space of the gallery gradually overlaps with the distant experience of encountering the tower across the river. Infrastructure is no longer understood solely as an object within the landscape, but as a spatial framework through which ways of looking, movement, and lived experience continue to be organized.
作品將約二十層樓高的電波塔依照原始比例拆分為數百張 A3 紙輸出，再由藝術家逐張拼接成約三十八公尺長的垂直卷軸，懸掛於展場之中。原本難以接近的垂直尺度，被轉化為可沿著展場逐步觀看的身體經驗；觀者在移動之中，重新感知建築的高度，以及自身與結構之間的尺度關係。
作品保留了電波塔的實際比例，卻將原本由鋼構組成的建築轉譯為輕薄的紙張。建築的重量感與紙張的脆弱性在同一個物件中並置，使觀看不再建立於建築本身，而是在材料、尺度與身體移動之間持續轉換。當觀者站立於作品前，視線沿著紙張向上延伸，展場中的垂直空間逐漸與河岸遠方的觀看經驗重疊，讓一座原本存在於城市景觀中的基礎設施，重新成為一種關於尺度、觀看與移動的空間經驗。
For many years, while travelling along the riverside levees, my attention repeatedly returned to a tall transmission tower standing on the opposite bank. Before I understood its function, its ladder-like silhouette appeared as an unfamiliar structure embedded within the urban landscape, inviting speculation about its scale and height. Through photographing the tower and later researching its history, I learned that it was a decommissioned radio transmission tower. This process of re-encountering the structure also reconnected it to lived experiences of radio: falling asleep to broadcasts while riding in my father’s car, only to wake at home, with distant voices lingering somewhere between movement and arrival. Today, radio has largely given way to streaming platforms and podcasts, while the tower remains fixed within the landscape, quietly bearing witness to changing technologies, infrastructures, and patterns of everyday mobility.
The work reconstructs the approximately twenty-storey tower at full scale by dividing its image across hundreds of A3 prints, each assembled by hand into a suspended scroll measuring nearly thirty-eight metres in length. Installed vertically within the exhibition space, the work translates an otherwise inaccessible architectural scale into an embodied experience of looking. As viewers move through the gallery, the tower’s height is no longer perceived from a distance but encountered through bodily navigation, continually recalibrating the relationship between the viewer and the structure.
While preserving the tower’s original proportions, the work transforms a rigid steel structure into a fragile surface of paper. Solidity gives way to lightness, permanence to vulnerability, allowing material, scale, and perception to shift simultaneously. As the viewer’s gaze travels upward through the suspended image, the vertical space of the gallery gradually overlaps with the distant experience of encountering the tower across the river. Infrastructure is no longer understood solely as an object within the landscape, but as a spatial framework through which ways of looking, movement, and lived experience continue to be organized.
天梯：燈箱 Ladder light boxes
作品延續對河岸電波塔的長期觀看，透過中片幅黑白底片攝影，持續記錄這座位於城市邊緣、已停用的基礎設施。每一次拍攝都伴隨著架設相機、等待光線與停留觀看的過程，使攝影不只是影像的生成方式，也成為重新感知建築尺度與周圍環境的方法。觀看在等待之中逐漸延長，視線也持續停留於塔體的結構、天空的變化，以及偶然經過的人與物之間。
作品以燈箱作為影像的呈現形式，使攝影自身成為發光的物件。畫面維持正面的觀看角度，將電波塔置於影像中央，建築不再只是紀錄的對象，而是一座被凝視的垂直結構。畫面中飛鳥與騎乘自行車的路人並非敘事性的角色，而是在移動之中形成身體尺度的參照，使塔體的高度與量體得以被感知，也讓觀看在建築、身體與空間之間建立對應關係。
燈箱所發出的光線，使影像介於攝影與物件之間。作品並非再現一座已失去功能的建築，而是透過光、尺度與觀看的持續停留，使這座電波塔重新成為一種組織空間感知與身體經驗的結構。
The work continues an ongoing engagement with a decommissioned transmission tower situated along the riverside. Photographed using black-and-white medium-format film, the tower is approached through repeated acts of looking rather than as a documentary subject. The measured process of working with film—setting the camera, waiting for changing light, and remaining within the site—extends the duration of observation, allowing the structure, the shifting sky, and passing figures to gradually unfold within the same field of vision.
Presented as illuminated light boxes, the photographs become luminous objects rather than flat images. Each composition adopts a frontal viewpoint, positioning the tower as a vertical structure that anchors the surrounding landscape. Birds in flight and cyclists passing through the frame do not function as narrative elements; instead, they establish bodily points of reference through which the scale of the tower can be perceived. Architecture, movement, and human presence together construct a spatial relationship that continually recalibrates the viewer’s sense of proportion.
The illuminated surfaces position the work between photography and object. Rather than documenting an obsolete piece of infrastructure, the installation considers how light, scale, and sustained observation transform the tower into a spatial framework through which perception and lived experience continue to be organized.
作品以燈箱作為影像的呈現形式，使攝影自身成為發光的物件。畫面維持正面的觀看角度，將電波塔置於影像中央，建築不再只是紀錄的對象，而是一座被凝視的垂直結構。畫面中飛鳥與騎乘自行車的路人並非敘事性的角色，而是在移動之中形成身體尺度的參照，使塔體的高度與量體得以被感知，也讓觀看在建築、身體與空間之間建立對應關係。
燈箱所發出的光線，使影像介於攝影與物件之間。作品並非再現一座已失去功能的建築，而是透過光、尺度與觀看的持續停留，使這座電波塔重新成為一種組織空間感知與身體經驗的結構。
The work continues an ongoing engagement with a decommissioned transmission tower situated along the riverside. Photographed using black-and-white medium-format film, the tower is approached through repeated acts of looking rather than as a documentary subject. The measured process of working with film—setting the camera, waiting for changing light, and remaining within the site—extends the duration of observation, allowing the structure, the shifting sky, and passing figures to gradually unfold within the same field of vision.
Presented as illuminated light boxes, the photographs become luminous objects rather than flat images. Each composition adopts a frontal viewpoint, positioning the tower as a vertical structure that anchors the surrounding landscape. Birds in flight and cyclists passing through the frame do not function as narrative elements; instead, they establish bodily points of reference through which the scale of the tower can be perceived. Architecture, movement, and human presence together construct a spatial relationship that continually recalibrates the viewer’s sense of proportion.
The illuminated surfaces position the work between photography and object. Rather than documenting an obsolete piece of infrastructure, the installation considers how light, scale, and sustained observation transform the tower into a spatial framework through which perception and lived experience continue to be organized.
河光 River Light
在長時間以黑白底片拍攝河岸與橋下空間的過程中，其中一張關於河面的影像逐漸浮現出不同於紀錄性的觀看方式。中片幅黑白底片的顆粒與階調，使河面在影像中呈現出近似素描的質地：水波被轉化為連續的筆觸結構，細節密集但仍維持某種整體的平衡。由於底片累積後才進行沖洗與整理，這張影像的具體拍攝位置已無法被精確確認，使其從特定地點的指涉中抽離，轉而成為一種可以被重新想像的河面形態。
作品將這張河面影像以中空垂掛的方式置入結構之中，並透過牆面後方的氣流使影像持續產生微幅的擺動。光線與影像在移動中互相干擾，使河面不再停留於靜態的攝影平面，而是以持續閃爍與反射的方式被重新組織。LED燈管內部同樣嵌入河面影像，使光源本身與影像之間形成重疊關係，使觀看同時穿越發光結構與影像層。
在這個狀態中，攝影不再是對河流的固定記錄，而是被轉化為一種持續運動的視覺場域。光、風與影像共同作用，使河面呈現為一種不斷變動的觀看結構，在靜態與流動之間維持開放的狀態。
During a long period of photographing riverbanks and spaces beneath bridges using black-and-white film, one image of the river surface gradually emerged as something distinct from documentary observation. The material qualities of medium-format black-and-white film—its grain and tonal range—render the water surface in a way that resembles drawing. Waves appear as continuous strokes, dense in detail yet held within a certain visual coherence. As the film was developed only after a large accumulation of exposures, the exact location of this river surface could no longer be precisely identified. Detached from a specific site, the image becomes open to reconfiguration, allowing the river to be reimagined as a form rather than a fixed place.
The work presents this image of the river surface in a suspended, hollow structure. Airflow generated behind the wall introduces subtle movements, causing the image to oscillate continuously. Light and image interfere with one another through motion, shifting the river surface away from a static photographic plane toward a condition of ongoing flicker and reflection. LED light tubes also contain images of the river surface, creating a layered relationship between illumination and photographic surface, where light and image overlap within the same structural field.
In this configuration, photography is no longer a fixed record of the river, but is transformed into a continuously shifting visual field. Light, airflow, and image operate together to produce a condition in which the river surface remains in motion, suspended between stability and flow, as an open perceptual structure shaped by infrastructural and material forces.
作品將這張河面影像以中空垂掛的方式置入結構之中，並透過牆面後方的氣流使影像持續產生微幅的擺動。光線與影像在移動中互相干擾，使河面不再停留於靜態的攝影平面，而是以持續閃爍與反射的方式被重新組織。LED燈管內部同樣嵌入河面影像，使光源本身與影像之間形成重疊關係，使觀看同時穿越發光結構與影像層。
在這個狀態中，攝影不再是對河流的固定記錄，而是被轉化為一種持續運動的視覺場域。光、風與影像共同作用，使河面呈現為一種不斷變動的觀看結構，在靜態與流動之間維持開放的狀態。
During a long period of photographing riverbanks and spaces beneath bridges using black-and-white film, one image of the river surface gradually emerged as something distinct from documentary observation. The material qualities of medium-format black-and-white film—its grain and tonal range—render the water surface in a way that resembles drawing. Waves appear as continuous strokes, dense in detail yet held within a certain visual coherence. As the film was developed only after a large accumulation of exposures, the exact location of this river surface could no longer be precisely identified. Detached from a specific site, the image becomes open to reconfiguration, allowing the river to be reimagined as a form rather than a fixed place.
The work presents this image of the river surface in a suspended, hollow structure. Airflow generated behind the wall introduces subtle movements, causing the image to oscillate continuously. Light and image interfere with one another through motion, shifting the river surface away from a static photographic plane toward a condition of ongoing flicker and reflection. LED light tubes also contain images of the river surface, creating a layered relationship between illumination and photographic surface, where light and image overlap within the same structural field.
In this configuration, photography is no longer a fixed record of the river, but is transformed into a continuously shifting visual field. Light, airflow, and image operate together to produce a condition in which the river surface remains in motion, suspended between stability and flow, as an open perceptual structure shaped by infrastructural and material forces.
河口 Enter the River
作品以河面的錄像作為展場的過道與入口，將河流轉化為一個需要穿越的空間界面。雙面投影膜既區隔展場不同的空間，也維持了視線與光線的流動，使河面介於影像、物件與建築之間，形成一個持續變化的觀看邊界。
觀者在進入展場的過程中，必須穿越投影形成的河面。當身體接近、停留與通過時，影子自然映入影像之中，使觀看不再停留於影像之外，而是在移動的過程中逐漸進入其中。身體、光線與河面的流動彼此重疊，觀看也隨著穿越的動作不斷被重新組織。
作品並未試圖再現一段特定的河流經驗，而是將「渡河」轉化為一種空間性的觀看方式。河流不再只是被觀看的風景，而成為一個連結展場、身體與影像的介面，使觀者在穿越的過程中重新感知自身與空間之間的關係。
Enter the River positions the moving image of a river’s surface as the threshold to the exhibition, transforming the river into a spatial interface that must be crossed. A suspended double-sided projection screen simultaneously divides and connects the exhibition space, allowing light, image, and movement to remain permeable. Situated between architecture, object, and moving image, the projected river becomes a shifting boundary through which perception is continuously negotiated.
As viewers enter the exhibition, they pass directly through the projected image. Their shadows are inevitably cast onto the moving surface, drawing their bodies into the work through the simple act of crossing. Looking no longer takes place from a distance; instead, perception unfolds through movement, as body, light, and the flow of the river momentarily occupy the same visual field.
Rather than representing a particular river, the installation considers crossing as a spatial mode of viewing. The river ceases to function as a landscape observed from afar and instead becomes an interface that connects image, architecture, and bodily navigation. Through the act of passing, viewers become momentarily situated within the work, where perception is shaped through movement rather than observation alone.
觀者在進入展場的過程中，必須穿越投影形成的河面。當身體接近、停留與通過時，影子自然映入影像之中，使觀看不再停留於影像之外，而是在移動的過程中逐漸進入其中。身體、光線與河面的流動彼此重疊，觀看也隨著穿越的動作不斷被重新組織。
作品並未試圖再現一段特定的河流經驗，而是將「渡河」轉化為一種空間性的觀看方式。河流不再只是被觀看的風景，而成為一個連結展場、身體與影像的介面，使觀者在穿越的過程中重新感知自身與空間之間的關係。
Enter the River positions the moving image of a river’s surface as the threshold to the exhibition, transforming the river into a spatial interface that must be crossed. A suspended double-sided projection screen simultaneously divides and connects the exhibition space, allowing light, image, and movement to remain permeable. Situated between architecture, object, and moving image, the projected river becomes a shifting boundary through which perception is continuously negotiated.
As viewers enter the exhibition, they pass directly through the projected image. Their shadows are inevitably cast onto the moving surface, drawing their bodies into the work through the simple act of crossing. Looking no longer takes place from a distance; instead, perception unfolds through movement, as body, light, and the flow of the river momentarily occupy the same visual field.
Rather than representing a particular river, the installation considers crossing as a spatial mode of viewing. The river ceases to function as a landscape observed from afar and instead becomes an interface that connects image, architecture, and bodily navigation. Through the act of passing, viewers become momentarily situated within the work, where perception is shaped through movement rather than observation alone.
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