/* 新增鍵盤左右鍵切換作品的功能 */
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Sunrise
false
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    let postTitle = document.querySelector(".singlework-title");

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2016
Polaroid film, aluminium frame
Sunrise captures a moment when the act of seeing collapses. At the center of the image, a ray of sunlight rises from behind a mountain, piercing through the cloud sea as the world is being illuminated. Yet at the very heart of that light, a dark smudge appears—like a malfunctioning void, rupturing both the landscape and the presumed stability of vision itself.



The dawn light, wavering between searing intensity and sharp glare, renders the viewer unable to look away—yet also unable to articulate what is truly seen. In a split second, the brightness overwhelms sensory capacity. Color loses its semantic weight, becoming instead a distortion of informational density. Here, seeing is no longer a means of understanding the world, but a form of irreversible exposure—a burn left by excessive contact with the real.



This work extends the proposition of Night Walk, shifting the threshold of perception from darkness to blinding light. Whereas darkness allows things to recede, light here over-exposes and obliterates contours. The scorched trace is not an error, nor an effect, but the breakdown of perception in the face of reality—a “hole” within the visual mechanism itself.



The artist’s choice of Polaroid film is not driven by nostalgia, but as a critical inquiry into the nature of photographic representation. When the shutter clicks and the machine renders its instant judgment, does the resulting image not also reveal a cognitive bias? This photograph was not taken to capture the “beauty of sunrise,” but to document what the apparatus could not process—a mark left by reality's refusal to be reduced to image. The photographer sought to record the moment, but left only a vague afterimage: a dark speck, as if the image itself had been scorched. It testifies to the failure of vision—and gestures, perhaps, toward its renewal.
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