Be - Chapter III
"Be" 對我來說是一個重要的長期攝影系列作品，因為它就像是我內心狀態的自畫像。
在這個系列中，我主要探索了兩個方向，第一個方向的探索延續了我在 Black Day 和 White Night 兩個系列中的反相處理手法，將它從黑白拓展到彩色，旨在擴展反相影像的可能性。
第二個探索則嘗試將科技產品的內部構造與自然元素融合在一起；前者象徵我作為工程師的理性面，而後者代表我作為藝術家的感性面。理性與感性經常在我的自我實現旅程中產生衝突，而我試圖將兩者視覺化並融合在一起，就像我努力讓這兩個面向在我的生命中能夠共存共榮。
本系列中所使用的的影像素材皆取⾃我日常生活中所觸及的物件，每個素材都有一段⼩故事，記錄它如何存在於我的⽣命中，抑或作為一段回憶、一個感悟的導引；而每張作品皆由理性與感性兩樣素材疊合而成，同時也疊合出兩段故事的對話。
在這個系列中，我主要探索了兩個方向，第一個方向的探索延續了我在 Black Day 和 White Night 兩個系列中的反相處理手法，將它從黑白拓展到彩色，旨在擴展反相影像的可能性。
第二個探索則嘗試將科技產品的內部構造與自然元素融合在一起；前者象徵我作為工程師的理性面，而後者代表我作為藝術家的感性面。理性與感性經常在我的自我實現旅程中產生衝突，而我試圖將兩者視覺化並融合在一起，就像我努力讓這兩個面向在我的生命中能夠共存共榮。
本系列中所使用的的影像素材皆取⾃我日常生活中所觸及的物件，每個素材都有一段⼩故事，記錄它如何存在於我的⽣命中，抑或作為一段回憶、一個感悟的導引；而每張作品皆由理性與感性兩樣素材疊合而成，同時也疊合出兩段故事的對話。
"Be" is an important long-term photography project for me, as it feels like a self-portrait of my inner state.
Within this project, I explored two directions. The first exploration continues the inversion processing technique from my previous projects, Black Day and White Night. It extends this technique from black-and-white to color, aiming to expand the possibilities of inversion imagery.
The second exploration involves attempting to merge the interiors of technological products with natural elements. The former symbolizes my rational side as an engineer, while the latter represents my intuitive side as an artist. Rationality and sensibility often conflict on my journey of self-realization, and I am trying to visualize and merge them together, just as I strive for these two aspects to coexist and flourish in my life.
The visual materials used in this series are all drawn from objects I’ve encountered in my daily life. Each carries a small story — either documenting how it existed in my life, or becoming a pathway to memory and reflection. Every piece is composed by overlapping two materials: one representing rationality, the other sensibility. In this layering, a dialogue between two stories also emerges.
Within this project, I explored two directions. The first exploration continues the inversion processing technique from my previous projects, Black Day and White Night. It extends this technique from black-and-white to color, aiming to expand the possibilities of inversion imagery.
The second exploration involves attempting to merge the interiors of technological products with natural elements. The former symbolizes my rational side as an engineer, while the latter represents my intuitive side as an artist. Rationality and sensibility often conflict on my journey of self-realization, and I am trying to visualize and merge them together, just as I strive for these two aspects to coexist and flourish in my life.
The visual materials used in this series are all drawn from objects I’ve encountered in my daily life. Each carries a small story — either documenting how it existed in my life, or becoming a pathway to memory and reflection. Every piece is composed by overlapping two materials: one representing rationality, the other sensibility. In this layering, a dialogue between two stories also emerges.
Works
Be No.31 – A combination of the circuit board of a broken bluetooth keyboard and the stone tiles in the park.
Be No.30 - The circuit board of a remote-controlled car and a fence overgrown with climbing plants.
Be No.29 - A Hong Kong Orchid Tree leaf and the motherboard of my wife’s broken laptop.
Be No.28 - The bark of a paperbark tree and the hard drive from my wife's broken laptop.
Be No.27 - Tree trunk and Paper Shoot Camera displayed in the museum store.
Be No.26 - Vibrant plants from a garden encountered in the alleys and a part of the mother board of my colleague’s desktop.
Be No.25 - A exterior green wall of Taipei EXPO Park and the mother board of colleague’s desktop.
Be No.31 – A combination of the circuit board of a broken bluetooth keyboard and the stone tiles in the park.
Be No.30 - The circuit board of a remote-controlled car and a fence overgrown with climbing plants.
Be No.29 - A Hong Kong Orchid Tree leaf and the motherboard of my wife’s broken laptop.
Be No.28 - The bark of a paperbark tree and the hard drive from my wife's broken laptop.
Be No.27 - Tree trunk and Paper Shoot Camera displayed in the museum store.
Be No.26 - Vibrant plants from a garden encountered in the alleys and a part of the mother board of my colleague’s desktop.
Be No.25 - A exterior green wall of Taipei EXPO Park and the mother board of colleague’s desktop.