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.