眼淚的山谷
Valley Of Tears
此展覽分為三個部分。
The exhibition is divided into three parts.
第一部分
自畫鎖定探試系列
Self-Portrait Lock Series
源於名叫「安全」的作品。在創作前我思考著，對於現階段的自己來說，最強烈的事情是什麼？無疑是愛情。 陷入愛河之際，戀人的目光更勝一切。再多的言語和擁抱，都比不上對方欲言又止的凝視。於是我描繪的影像，正是一雙雙凝視著喜愛之人的眼神。
Originating from a work titled "Safety." Before beginning this series, I turned inward: of all things, what is most visceral to me at this point in my life? It is, without doubt, love. When one falls in love, a single glance from one's beloved eclipses all else — more than words, more than embrace. What one longs for is that suspended gaze, the look that hovers between saying everything and saying nothing. The images I render are therefore pairs of eyes: gazes fixed upon those one loves.
第二部分
《淨空》
Emptying
「淨空」包含四個部分，分別代表著揮別情緒極度絕望的四個過程，以臥倒在房間地面的女孩呈現情緒低落後的無力感，伴隨著大自然的聲音，帶出心靈空洞，錄像的最後以貓的動態去與絕望道別。 思考過作品本身的性質後，決定錄像的位置及於地平面，並且投影在安全出口的門上，也寓意著期望為這份情感糾結找到一個出口。
Emptying is structured in four parts, each representing a phase in the process of departing from profound despair. A young woman lying on the floor of a room gives form to the helplessness that follows emotional collapse; the work unfolds alongside sounds from the natural world, evoking an interior hollowness. In its closing passage, the movement of a cat becomes a farewell to hopelessness. Having considered the inherent nature of the work, the video was positioned at ground level and projected onto an emergency exit door — a symbolic gesture toward the desire for a way out of emotional entanglement.
《淨空》· 14 分 50 秒 · 有聲單頻影像 · 2015
第三部分
《少女思緒》
A Girl's Thoughts
「少女思緒」是一件與我姊姊有關的作品，我姊姊在去年夏天以自己的方式結束了生命，之後我才知道她一直有情緒病的困擾。她的離開沒有留下任何訊息，所以大家對於這件事都很疑惑，整理她的遺物時，我才開始更加地了解她。特別是她以前旅行時的拍立得照片，裡面的影像讓我感覺和她非常接近，於是我以她觀看的影像作為帶入，希望可以與她在曾經的回憶裡相遇。 求職信是我姊姊寫的，她沒有留下離開的文字，而我從她留在電腦裡面曾經的思考中，能感覺到強烈的生命氣息。 這件作品也是我消化這個事件的過程，思考她離去前的情感，展現出來並去感受及理解。
A Young Woman's Thoughts is a work bound to my sister, who chose to end her life the summer before last. I only came to know afterward of the emotional illness she had long carried quietly within her. She left without a word, leaving everyone around her bewildered. It was only through sorting her belongings that I began, at last, to know her more deeply — in particular through the instant photographs she had taken on her travels. The images within them made me feel profoundly close to her, and so I entered through those images she had once seen, hoping to encounter her somewhere within our shared memories. The cover letter is my sister's. She left no written farewell, yet within the thoughts she once set down on her computer, I felt a strong, living presence. This work is also my own process of coming to terms — giving form to the emotions she carried in the time before she left, bringing them into visibility so that they might be felt and understood.
