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被高高架起的＿＿＿ Lift ＿＿＿ Higher and Higher
高高架起 Higher and Higher
成長於臺北，我早已習慣在交通移動中不斷被高架或地下化的身體經驗，卻很少真正停下腳步，去觀看那些將我們「高高架起」的柱型建設。在這樣的日常中，這些結構往往成為被忽略的背景。
基於這樣的思考，我開始蒐集並拍攝各式各樣的柱體結構，並將影像轉化為近似廣告或標語帆布的形式輸出，讓這些原本功能性的建築以如同巨大雕塑般的姿態被重新觀看。同時，我也拍攝嘉義鐵路高架化工程的黑白影像，紀錄高架柱體尚在生成中的狀態，並依據展場尺度，呈現這些已存在或即將存在的巨大結構。
攝影帆布之後，豎立著由多種結構拼裝而成的柱型裝置，結合投影、燈箱與雕塑等不同媒介，播放近距離拍攝的柱體質地與細節。裝置背面以燈箱呈現爬梯的意象，象徵通往柱體之上的過程；結構內部的映像管電視則播放嘉義鐵路高架化的影像紀錄，邀請觀者重新凝視這些默默支撐我們日常生活的巨大建築。
Raised in Taipei, Chiu has long been accustomed to the bodily experience of moving through elevated and subterranean transport systems. Yet the columnar infrastructures that literally lift urban life upward often remain unseen, absorbed into the background of everyday movement.
Beginning from this condition of habituated perception, the artist photographs and collects diverse pillar structures, presenting them on banner-like prints reminiscent of advertisements or slogans. Through this gesture, functional architecture is repositioned as monumental sculpture. Black-and-white photographs of the Chiayi railway elevation project further introduce images of pillars in the process of becoming, scaled in relation to the exhibition site to suggest structures that already exist or are about to emerge.
Behind the banners stands a composite column assembled from heterogeneous structural forms. Integrating projection, light boxes, and sculptural elements, the installation reveals close-up views of surfaces and textures. A ladder image appears on the rear light box, evoking an ascent toward the space above. Within the structure, a CRT monitor screens documentary footage of the Chiayi project, inviting viewers to reconsider the massive constructions that quietly sustain daily life.
基於這樣的思考，我開始蒐集並拍攝各式各樣的柱體結構，並將影像轉化為近似廣告或標語帆布的形式輸出，讓這些原本功能性的建築以如同巨大雕塑般的姿態被重新觀看。同時，我也拍攝嘉義鐵路高架化工程的黑白影像，紀錄高架柱體尚在生成中的狀態，並依據展場尺度，呈現這些已存在或即將存在的巨大結構。
攝影帆布之後，豎立著由多種結構拼裝而成的柱型裝置，結合投影、燈箱與雕塑等不同媒介，播放近距離拍攝的柱體質地與細節。裝置背面以燈箱呈現爬梯的意象，象徵通往柱體之上的過程；結構內部的映像管電視則播放嘉義鐵路高架化的影像紀錄，邀請觀者重新凝視這些默默支撐我們日常生活的巨大建築。
Raised in Taipei, Chiu has long been accustomed to the bodily experience of moving through elevated and subterranean transport systems. Yet the columnar infrastructures that literally lift urban life upward often remain unseen, absorbed into the background of everyday movement.
Beginning from this condition of habituated perception, the artist photographs and collects diverse pillar structures, presenting them on banner-like prints reminiscent of advertisements or slogans. Through this gesture, functional architecture is repositioned as monumental sculpture. Black-and-white photographs of the Chiayi railway elevation project further introduce images of pillars in the process of becoming, scaled in relation to the exhibition site to suggest structures that already exist or are about to emerge.
Behind the banners stands a composite column assembled from heterogeneous structural forms. Integrating projection, light boxes, and sculptural elements, the installation reveals close-up views of surfaces and textures. A ladder image appears on the rear light box, evoking an ascent toward the space above. Within the structure, a CRT monitor screens documentary footage of the Chiayi project, inviting viewers to reconsider the massive constructions that quietly sustain daily life.
高架的尺標 Elevated Measures
〈高架的尺標〉以火車站常見的車廂號碼燈箱為造型基礎，標示 1 至 7 號車廂，同時將展場本身作為測量的對象。作品以日常中用來測量高度的單位——英尺（ft），標示出展場空間的尺度，暗示觀者隨著行走路徑的推進，觀看的高度也逐漸升高。
燈箱背面展示了拍攝視角不斷升高的雲朵影像，引導觀眾在不知不覺中，緩慢地、持續地，被高高架起。
The work presents photographs of the sky taken at different times and elevations. Contours of elevated infrastructures are drawn onto glass and sandblasted, indicating a raised viewpoint while reorganizing spatial depth.
Differences in material and texture generate a layered visual structure, echoing the accretion of elevated forms within the city.
燈箱背面展示了拍攝視角不斷升高的雲朵影像，引導觀眾在不知不覺中，緩慢地、持續地，被高高架起。
The work presents photographs of the sky taken at different times and elevations. Contours of elevated infrastructures are drawn onto glass and sandblasted, indicating a raised viewpoint while reorganizing spatial depth.
Differences in material and texture generate a layered visual structure, echoing the accretion of elevated forms within the city.
被高高架起的 Lift Higher and Higher
從小到大，每次搭乘火車時，我總習慣凝視車窗外的景象。隨著列車行駛，視線從地平線下的黑暗，逐漸升至高架之上的開闊風景，車廂內的乘客也在不知不覺中被高高架起，彷彿愈來愈接近天空。
這件錄像作品源自我搭乘火車的個人經驗，將凝視窗外風景的身體感受，與日常觀看影像（如電影、短片、錄像）的視覺經驗相互重疊。透過個人敘述與後設想像，作品描繪視線高度的變化，並指向現代城市高架化工程中，人們的身體與觀看位置如何一步步被抬升。
The video originates from my experience of gazing out of the train window. As the train advances, the view rises from darkness below the horizon toward an expanded height, and passengers are inadvertently lifted toward the sky.
The work overlays this bodily sensation with the everyday act of watching moving images. Through narration, it traces a vertical shift in perspective and reflects on how urban elevation reshapes our position in space.
這件錄像作品源自我搭乘火車的個人經驗，將凝視窗外風景的身體感受，與日常觀看影像（如電影、短片、錄像）的視覺經驗相互重疊。透過個人敘述與後設想像，作品描繪視線高度的變化，並指向現代城市高架化工程中，人們的身體與觀看位置如何一步步被抬升。
The video originates from my experience of gazing out of the train window. As the train advances, the view rises from darkness below the horizon toward an expanded height, and passengers are inadvertently lifted toward the sky.
The work overlays this bodily sensation with the everyday act of watching moving images. Through narration, it traces a vertical shift in perspective and reflects on how urban elevation reshapes our position in space.
高架輪廓 Elevated Contour line
〈高架輪廓〉呈現不同時段、不同高度下的天空攝影，並在玻璃表面手繪高架建設的輪廓線，再進行噴砂處理。影像中的輪廓暗示觀看位置的抬升，指向高架視角所帶來的高度變化。
透過攝影影像、玻璃材質與噴砂質感之間的差異，作品形成如同圖層疊加（layers）般的視覺結構，回應高架建設在空間中不斷堆疊的狀態。
The work presents photographs of the sky taken at different times and elevations. Contours of elevated infrastructures are drawn onto glass and sandblasted, indicating a raised viewpoint while reorganizing spatial depth.
Differences in material and texture generate a layered visual structure, echoing the accretion of elevated forms within the city.
透過攝影影像、玻璃材質與噴砂質感之間的差異，作品形成如同圖層疊加（layers）般的視覺結構，回應高架建設在空間中不斷堆疊的狀態。
The work presents photographs of the sky taken at different times and elevations. Contours of elevated infrastructures are drawn onto glass and sandblasted, indicating a raised viewpoint while reorganizing spatial depth.
Differences in material and texture generate a layered visual structure, echoing the accretion of elevated forms within the city.
星空 The Starry Night
〈星空〉（The Starry Night）同名於梵谷於 1889 年創作的經典繪畫〈星夜〉。作品拍攝高架建設及其上方層層堆疊的路燈與光線，在夜晚形成規律而明亮的光點。在現代化城市的日常中，這些井然有序的路燈逐漸取代自然星空，成為人們抬頭仰望時所見的「星空」，也映照出都市景觀與觀看經驗的轉變。
Borrowing its title from Van Gogh’s The Starry Night, the photograph depicts elevated infrastructure and rows of accumulated streetlights. Within contemporary urban life, these artificial illuminations increasingly replace the natural firmament, reflecting a substitution between nature and infrastructure.
Borrowing its title from Van Gogh’s The Starry Night, the photograph depicts elevated infrastructure and rows of accumulated streetlights. Within contemporary urban life, these artificial illuminations increasingly replace the natural firmament, reflecting a substitution between nature and infrastructure.
高架現場：嘉義 Elevated Scenes: Chiayi
嘉義市自 2017 年起進行鐵路高架化工程，預計於 2026 年完工。我使用中片幅黑白底片，搭配廣角與中長焦段鏡頭，從不同距離與視角拍攝施工現場，紀錄這座城市被逐步高高架起的過程。
這組作品不僅是對工程現場的影像紀錄，也是一種與當下的人們、曾經在此停留的人們，以及未來即將到來的人們，共同見證空間轉變的過程。
Since 2017, Chiayi has undergone a railway elevation project scheduled for completion in 2026. Using medium-format black-and-white film, I document the construction site from varying distances and perspectives, witnessing the city as it is gradually lifted.
The images also mark a temporality shared among former, current, and future inhabitants of this transforming place.
這組作品不僅是對工程現場的影像紀錄，也是一種與當下的人們、曾經在此停留的人們，以及未來即將到來的人們，共同見證空間轉變的過程。
Since 2017, Chiayi has undergone a railway elevation project scheduled for completion in 2026. Using medium-format black-and-white film, I document the construction site from varying distances and perspectives, witnessing the city as it is gradually lifted.
The images also mark a temporality shared among former, current, and future inhabitants of this transforming place.
柱子 No.1-16 Pillar No.1-16
〈柱 No.1–16〉源自我對日常環境中柱體結構的持續觀察與蒐集。作品拍攝了不同造型、尺寸、高度、顏色與質感的柱體建築，這些結構廣泛存在於城市之中，卻經常被忽略。
透過小尺寸的攝影輸出，並以帶有水泥質感、不同顏色的裱框方式呈現，這些原本巨大而沉重的柱體被縮放至近距離觀看的尺度。作品試圖改變觀看的方式與距離，促使觀者重新注視那些在無形之中架起我們日常生活的柱子。
This work emerges from my ongoing observation and collection of columnar structures in the urban environment. Supports of varying shapes, dimensions, and textures permeate daily surroundings, yet frequently go unnoticed.
Through small-scale photographic prints and frames coated in cement-like colors, these massive and weighty constructions are translated into an intimate viewing scale, shifting both distance and perception.
透過小尺寸的攝影輸出，並以帶有水泥質感、不同顏色的裱框方式呈現，這些原本巨大而沉重的柱體被縮放至近距離觀看的尺度。作品試圖改變觀看的方式與距離，促使觀者重新注視那些在無形之中架起我們日常生活的柱子。
This work emerges from my ongoing observation and collection of columnar structures in the urban environment. Supports of varying shapes, dimensions, and textures permeate daily surroundings, yet frequently go unnoticed.
Through small-scale photographic prints and frames coated in cement-like colors, these massive and weighty constructions are translated into an intimate viewing scale, shifting both distance and perception.
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