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.