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紙廠 Paper Factory
紙廠 Paper Factory
〈紙廠〉以即將消失的舊臺北紙廠廢墟空間為對象，透過攝影、動態影像與紙本物件的結合，探討建築、觀看與消逝之間的關係。
作品中，我於廠房空間中心位置拍攝一段約三分鐘的單一視角影像，透過 zoom-in 與 zoom-out 的鏡頭運動，模擬身體於巨大建築空間中的靠近與退離。此固定視角同時保留藝術家的觀看位置，使影像成為個體面對龐大結構時，透過身體與視線建立的空間經驗。
展呈時，影像由天花板垂直投射至地面，並投射於一疊約480張印有紙廠細節影像的A4紙張上。這些照片取自原先拍攝的4800張廠房細節影像，透過 Projection Mapping（光雕投影）技術快速輪播，使影像在紙張表面持續變化，形成介於攝影、動態影像與物質結構之間的觀看狀態。
僅選取部分照片堆疊，回應廢墟空間殘缺、不完整與逐漸消逝的狀態。觀眾可自由翻動或取走紙張，如同從即將消失的建築中帶走一小部分空間切片。當身體進入投影範圍，觀看、移動與取用的行為也使觀眾重新經驗這座逐漸消失的建築。
This work takes as its subject the soon-to-disappear ruins of the former Taipei Paper Factory, exploring the relationship between architecture, perception, and processes of disappearance through the interplay of photography, moving image, and paper-based objects.
For the work, I recorded a three-minute single-viewpoint video from the centre of the factory space. Through the movement of zooming in and out, the camera simulates the bodily experience of approaching and withdrawing from an immense architectural structure. This fixed viewpoint preserves the artist’s position of observation, allowing the moving image to become a spatial experience shaped through the relationship between the body, gaze, and architectural scale.
During installation, the video is projected vertically from the ceiling onto the floor, falling upon a stack of approximately 480 A4 sheets printed with photographic details of the paper factory. These images are selected from a collection of 4,800 photographs documenting fragments of the site. Through projection mapping, the images rapidly shift across the surface of the paper, creating a state of perception suspended between photography, moving image, and material structure.
The partial selection and accumulation of images respond to the fragmented, incomplete, and vanishing condition of the ruin. Viewers are invited to freely move, turn, or take away individual sheets of paper, as though carrying a small fragment of the disappearing architecture with them. As the body enters the field of projection, acts of viewing, movement, and appropriation transform the viewer’s encounter with a structure that continues to fade.
作品中，我於廠房空間中心位置拍攝一段約三分鐘的單一視角影像，透過 zoom-in 與 zoom-out 的鏡頭運動，模擬身體於巨大建築空間中的靠近與退離。此固定視角同時保留藝術家的觀看位置，使影像成為個體面對龐大結構時，透過身體與視線建立的空間經驗。
展呈時，影像由天花板垂直投射至地面，並投射於一疊約480張印有紙廠細節影像的A4紙張上。這些照片取自原先拍攝的4800張廠房細節影像，透過 Projection Mapping（光雕投影）技術快速輪播，使影像在紙張表面持續變化，形成介於攝影、動態影像與物質結構之間的觀看狀態。
僅選取部分照片堆疊，回應廢墟空間殘缺、不完整與逐漸消逝的狀態。觀眾可自由翻動或取走紙張，如同從即將消失的建築中帶走一小部分空間切片。當身體進入投影範圍，觀看、移動與取用的行為也使觀眾重新經驗這座逐漸消失的建築。
This work takes as its subject the soon-to-disappear ruins of the former Taipei Paper Factory, exploring the relationship between architecture, perception, and processes of disappearance through the interplay of photography, moving image, and paper-based objects.
For the work, I recorded a three-minute single-viewpoint video from the centre of the factory space. Through the movement of zooming in and out, the camera simulates the bodily experience of approaching and withdrawing from an immense architectural structure. This fixed viewpoint preserves the artist’s position of observation, allowing the moving image to become a spatial experience shaped through the relationship between the body, gaze, and architectural scale.
During installation, the video is projected vertically from the ceiling onto the floor, falling upon a stack of approximately 480 A4 sheets printed with photographic details of the paper factory. These images are selected from a collection of 4,800 photographs documenting fragments of the site. Through projection mapping, the images rapidly shift across the surface of the paper, creating a state of perception suspended between photography, moving image, and material structure.
The partial selection and accumulation of images respond to the fragmented, incomplete, and vanishing condition of the ruin. Viewers are invited to freely move, turn, or take away individual sheets of paper, as though carrying a small fragment of the disappearing architecture with them. As the body enters the field of projection, acts of viewing, movement, and appropriation transform the viewer’s encounter with a structure that continues to fade.
紙廠A4 Paper Factory A4
〈紙廠A4〉源自於2022年得知位於新北市板橋浮洲的舊臺北紙廠部分廢墟空間即將拆除，並改建為社會住宅。過去，這座廢墟曾作為學生自發創作與活動的替代空間，而我也曾於其中進行創作與觀看。因此，在空間消失之前，我以攝影記錄其最後樣貌，作為一種對即將消逝建築的影像凝視。
作品以紙廠內原紙漿槽所在位置為拍攝對象，透過中片幅相機與中心構圖，採取近似紀實攝影的觀看方式，記錄廢墟空間中的結構、尺度與殘留痕跡。影像試圖保持一種中性的觀看位置，使建築本身成為被凝視的主體。
展呈時，我以簡易燈管搭配未裝裱的燈片呈現影像，回應紙廠成為廢墟後所呈現出的簡陋、破敗與空置狀態。在攝影燈片的透視構圖中央，我保留一塊A4尺寸的留白，呼應舊臺北紙廠過去生產紙張的歷史，同時也指向建築消失後留下的空缺。透過影像中的空白，作品將紙張作為物質與空間的關係重新連結，轉化為一種對消逝場所的觀看。
Paper Factory A4 originates from the discovery in 2022 that parts of the former Taipei Paper Factory ruins, located in Fuzhou, Banqiao, New Taipei City, were scheduled for demolition and redevelopment into social housing. Previously, the abandoned site had served as an alternative space for self-organised artistic practices and activities by students, and I had also created and observed within this environment. Before its disappearance, I documented the final state of the site through photography, as an act of sustained observation toward an architecture on the verge of being erased.
The work focuses on the former pulp tanks within the factory, using a medium-format camera and centralised composition to adopt an observational approach close to documentary photography. Through this method, the structure, scale, and residual traces of the ruin are recorded. The image maintains a neutral position of observation, allowing the architecture itself to emerge as the primary subject of the gaze.
For the installation, photographic transparencies are presented without frames alongside simple fluorescent lighting, reflecting the improvised, deteriorating, and vacant condition of the factory after its abandonment. At the centre of the perspectival composition within the photographic transparency, an A4-sized area of blank space is preserved. This absence refers both to the factory’s former production of paper and to the void left after the disappearance of the architecture. Through this deliberate emptiness, the work reconnects paper as both material and spatial concept, transforming the image into a meditation on the act of witnessing a vanishing place.
作品以紙廠內原紙漿槽所在位置為拍攝對象，透過中片幅相機與中心構圖，採取近似紀實攝影的觀看方式，記錄廢墟空間中的結構、尺度與殘留痕跡。影像試圖保持一種中性的觀看位置，使建築本身成為被凝視的主體。
展呈時，我以簡易燈管搭配未裝裱的燈片呈現影像，回應紙廠成為廢墟後所呈現出的簡陋、破敗與空置狀態。在攝影燈片的透視構圖中央，我保留一塊A4尺寸的留白，呼應舊臺北紙廠過去生產紙張的歷史，同時也指向建築消失後留下的空缺。透過影像中的空白，作品將紙張作為物質與空間的關係重新連結，轉化為一種對消逝場所的觀看。
Paper Factory A4 originates from the discovery in 2022 that parts of the former Taipei Paper Factory ruins, located in Fuzhou, Banqiao, New Taipei City, were scheduled for demolition and redevelopment into social housing. Previously, the abandoned site had served as an alternative space for self-organised artistic practices and activities by students, and I had also created and observed within this environment. Before its disappearance, I documented the final state of the site through photography, as an act of sustained observation toward an architecture on the verge of being erased.
The work focuses on the former pulp tanks within the factory, using a medium-format camera and centralised composition to adopt an observational approach close to documentary photography. Through this method, the structure, scale, and residual traces of the ruin are recorded. The image maintains a neutral position of observation, allowing the architecture itself to emerge as the primary subject of the gaze.
For the installation, photographic transparencies are presented without frames alongside simple fluorescent lighting, reflecting the improvised, deteriorating, and vacant condition of the factory after its abandonment. At the centre of the perspectival composition within the photographic transparency, an A4-sized area of blank space is preserved. This absence refers both to the factory’s former production of paper and to the void left after the disappearance of the architecture. Through this deliberate emptiness, the work reconnects paper as both material and spatial concept, transforming the image into a meditation on the act of witnessing a vanishing place.
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