POETIC ESTRANGEMENT (2022)

遺留與崩壞
每個人都有一套觀賞城市的方式，我們察覺與尋找城市的過程，往往是顛覆常規的想像。 城市的過去記載於時光消逝所留於物件的痕跡，而每一道印記都會刻進人們的腦海當中，這些痕跡引領我們憶起城市的過去，想像現在與未來。
「遺留與崩壞」注意被我們常規思維標誌為異常的狀態: 被遺留的水樽、彈彈波、雪糕 筒，破掉的沙網、交通燈，壞掉的燈柱、出又告示，這些在街道微小的痕跡，在既有認 知上，或記憶裡都是一種被過濾的例外狀況 、不被接納的混亂，然而其存在卻同時不 斷提醒我們現行規則的形狀和邊界，強迫人思考制式的運作。這種狀態的源頭，就是人 和世界在「要求」和「回應」之間的不相應而產生。發掘和理解當中的差距，我們更能
夠接近城市的真貌，或自我的本質。
透過街頭攝影，捕捉和放大城市錯置的遺留物、壞掉的事物，或其與毫無關聯性物件並 置的時刻，藉著雕塑拼貼與相片移印，嘗試讓平面攝影與立體雕塑對話，在轉換形態及 重組的過程中，呈現過往日常生活中經常被忽視的細節，放大物件被抽離慣性邏輯時的
異常狀態。
Lost and Fragment
There are wide variation in the way people observe a city, and the process within it is often a subversive imagination to the existing rules. The past of the city is recorded in the traces of objects left by time, and each mark will be engraved in our minds. Those
marks lead us to recall the past of a city and imagine her present and future.
“Lost and Fragment” pay attention to the daily objects in the street such as disposable plastic bottles, bouncy balls, safety cones or the broken traffic lights and exit signs, which has always been forgotten or regarded as disposal. The existence of these fragmented objects once represents the unacceptable chaos in our daily routine, but also constantly reminds us the shape and boundaries of the existing rules, forcing people to think about the meaning of “normal” and the problem of being institutionalized. Understanding the distance between what city “can be” and what
city “required to be”, we can get closer to the trueness of the city, or ourselves.
With street photography, I capture and magnify the misplaced, broken things, or the juxtaposition of unrelated objects in the city. Through sculptural collage and transfer printing of the photos, images between different dimensions can be transformed for generating new ideas, in order to rediscover the neglected details in our daily routine and emphasize the condition of objects being withdrew from the conventional
placement of urban landscape.