Two Horizons
2016-2017
相紙鋁框裱褙
Photo paper aluminum frame lamination
Two Horizons
2016-2017
相紙鋁框裱褙
Photo paper aluminum frame lamination
本件作品是我自己的「遊憩之作」。這兩張照片的發生過程簡陋到令人心虛,幾乎讓我有種不勞而獲的不安。
左邊這張照片,拍攝於2016年的春夏,當時我正在為了製作《看看看看》(Watch,Look,See&Reed)這件作品,而騎著摩托車在台南市的大街小巷穿梭著,炙熱的熱浪將我團團包裹,但卻沒怎麼影響我的心情,在吃完了一碗綠豆湯後隨性地往海的方向騎去,途經一座大橋時我立刻被這片遼闊而晴朗的景色捕獲了;我隨便地用拍立得拍了張照,其後便拿起手機拍下了這個畫面,沒再多想什麼,上傳到Instagram後便繼續著我的行程。右邊的這張照片,拍攝於同年的秋天,那時我正在前往中山大學哲學所旁聽的途中,碰巧瞥見了一艘因颱風而翻覆的船舶,一樣,想都沒想便拍了這張照片,上傳到IG後繼續驅車上山上課。而要到幾個月後我想起有這兩張照片,才從IG中把這兩張照片挖出來、取名,視其為作品。
視線(Sight),在語言上一般的用法是當作「看東西時眼睛與目標間的假想直線」,換句話說是一個有起點有終點的過程,由某人/物出發然後到達某人/物。當人們看著一幅圖像(image),我們其實是透過使那圖像得以被如此構成的位置來得以看見,以攝影為例,雖然其光學與機械的原理常常給我們一種錯覺,將其視之為一中性客觀的世界拷貝並給予其信心,可是隱藏在相機背後的這個位置才是關鍵所在,意思是,攝影者僅僅透過「取景」作用所生產的圖像便能反映其視點(pointofsight)與其視線所及的世界觀,依此意見,攝影亦不外於一種對世界的主觀詮釋。
我算不上是喜歡攝影的人,也沒有自己的數位單眼相機,手機裡也幾乎都是貓的照片,但不知何的,我做作品時卻時常使用影像作為媒材,或許與其媒材自身特質有關吧。在《兩種水平》這兩張照片裡,攝影者的視線、相機的視線、觀者的視線,被聚合到了相紙這個平面上,此類關於位置—觀看之豐富的可能性,直接地展示了影像對我的魅力,人們得以用某種形式分享著同一個視野,即便這不是完全現實的。
This work is my own “recreational work”. The process of these two photos is so rudimentary that it almost makes me feel uneasy.
The photo on the left was taken in the spring and summer of 2016. At that time, I was riding a motorcycle through the streets and alleys of Tainan City for the work “Watch, Look, See & Reed”. The scorching heat wave wrapped around me, but it didn’t affect my mood very much. After eating a bowl of mung bean soup, I casually rode towards the sea. When I passed a bridge, I was immediately captured by this vast and sunny scenery. I casually took a photo with my Polaroid, and then I picked up my phone and took a picture. Without thinking about it, I uploaded it to Instagram and continued my journey. The photo on the right was taken in the autumn of the same year. At that time, I was on the way to the Philosophy Institute of Sun Yat-sen University, and I happened to catch a glimpse of a ship that was overturned by a typhoon. Similarly, I took this photo without thinking. After uploading to IG, continue to drive up the mountain to class. And it was only after a few months that I remembered that I had these two photos, so I dug out these two photos from IG, named them, and regarded them as works.
Sight is generally used in language as “an imaginary straight line between the eyes and the target when looking at something”, in other words, a process with a starting point and an end point, starting from someone/thing and reaching someone/ thing. When one looks at an image, we actually see through the location that allows that image to be so constituted. Take photography, for example, although its optical and mechanical principles often give us the illusion that it is View it as a neutral and objective copy of the world and give it confidence, but the location behind the camera is the key, meaning that the photographer produces an image that reflects his point of view only through the effect of “framing” ( point of sight) and its worldview, according to which photography is no more than a subjective interpretation of the world.
I’m not really a photographer, and I don’t have my own digital single-lens camera, and my phone is almost full of cat photos, but for some reason, I often use images as a medium when I make works, perhaps with the medium itself. It’s about traits. In the two photos of “Two Levels”, the photographer’s line of sight, the camera’s line of sight, and the viewer’s line of sight are aggregated on the plane of the photographic paper, which directly shows the rich possibilities of position and viewing. Because of the fascination of images for me, people are able to share the same vision in some form, even if it’s not completely realistic.
