Fujifilm Instax 拍立得相紙、檔案書
Fujifilm Instax Polaroid Paper, Archives
Photography is not about “photography” or “shadowing”, it is not about storing images, but first bringing the eyes to the things. The motive of this work is to reflect on the image and people, and even art and people. Taking the opportunity of living in Tainan for ten years to accumulate feelings about the daily countryside, I have a good look at myself and try to respond to the image problems of this era. .
The two sides of the image, one is purely self and the other is objectivity, is common to all art. If we look back on the history before the invention of photography, we will be surprised to find how much this accidental technology has changed the whole of existence. , In other words, people are infiltrated by the world like no one else in their lives without precedent in history. Today, it is generally believed that the power of images lies in their representational or virtuality, and this is true from a factual level, but from a human perspective, the real power of images is not the augmentation of “seeing”, but the bringing of things to the It is just a kind of “near” or “near” relative who brings oneself to the front of things in front of the eyes, and cannot be simply watched. What I mean is that I am not ignoring the various negative phenomena marked by photography and subsequent image technology, but I am pointing out that photography, as a creative technology, is human, not necessarily based on concept or expression. Therefore, can it be possible to positively affirm images, and then affirm the existence of reality in contemporary people? I think the problem of images in our time is all related to this.
This work consists of a Polaroid photo, an archive book, and a photo that represents the way of shooting. The most important thing is that this work is different from the usual way of shooting: a total of about two or three days. Roaming in Tainan City with the camera, if you come across a monitor, beside Temple Street, on the overpass, on the top of the tower, beside the fence…then set up a ladder, put the camera against the lens of the monitor, and head towards where it was originally facing— People’s lives – press the shutter. Afterwards, the photos immediately spit out by the Polaroid became the first part of the exhibition, and the monitors that I “blocked” were regarded as the subject and collected into an archive book as the second part, and the third part was an independent part. way is shown.
The reason why it is named “Look and Look”—it emphasizes “look” without repetition and obsessive-compulsive disorder, which we can get evidence from the English title of the work—is to highlight the richness of looking and the freedom of attention, which is a spiritual body. At present, the works are all kinds of playing with each other. They are neither playful nor purely speculative and detached. What they show is only photography as a human being and focusing on human life. It is also my sincere concern and response to the image. Compared with the integrity of monitor photography, the ordinaryness of my photography is not humble because of its one-sidedness, but it is precisely because of this that it regains the vitality and imagination of people. Among them, the everyday and everyday images are no longer absent. The record of meaning, on the contrary, is regarded as the basis of the image as the image, which is also the fundamental meaning of seeing.