Blossom 綻, 2024
作品不追求華麗的表現,而是透過簡潔但情感濃烈的畫面,引領觀者進入一種遠離塵囂、回歸自然本質的觀看狀態。作品圍繞展示睡蓮綻放的狀態,「一株自立水中央,幽影輕搖似夢長,風來無語隨波逝,獨自盛開任自芳」。
影像如同一扇通往自然與生命靜觀的門,喚起觀者對生命本質的直觀體悟。正如禪宗所言:「一花一世界,一葉一如來」,禪者觀蓮,原不在蓮。睡蓮最終成為一面鏡子,映照觀者對自然、時間與自我的靜默對話。
The work eschewing ornate expressions in favor of simple yet emotionally profound
imagery. It guides viewers into a state of contemplation that transcends worldly distractions and returns to the essence of nature. Center around the depiction of waterlily, “A solitary waterlily stands in the heart of the water, it’s shadow ripples softly, like a dream stretching with the waves. When the wind arrives, it drifts away in silence, blooming alone, letting its fragrance linger freely.”
The imagery serves as a gateway to quietly observe nature and life, evoking an intuitive understanding of life's essence. As Zen said: “One can find a world in a flower; One can see a Buddha in a leaf." To the Zen Buddhism, observing the lotus is not about the lotus itself. The waterlily becomes a mirror, reflecting the viewer’s silent dialogue with nature, time, and the self.
夕.物哀 , 2023關於這些作品,每每在心流時逐境而生。
恍如 餓,尋找飽腹感,得到滿足感,獲得幸福感。
心流何時有?
「:
在走路時有
在廁所時有
在醒來時有
在放空時有
入神
忘我
沉醉
如醉翁之意不在酒
時間感
束縛感
存在感
彷彿
消失了
然後
自得其樂
。」These works often arise during a state of flow,
where one immerses oneself in the present moment.
It’s akin to hunger, finding satisfaction,
seeking a sense of fulfilment,
and attaining a feeling of happiness.
When does flow occur?
“:
while walking
while in the restroom
upon waking up
during moments of relaxation
engrossed,
absorbed,
immersed
though drunken, one's real interest is not in wine!
Sense of time, confinement, existence
seemingly disappear⋯
and then,
enjoy oneself
! ”
Self-portrait , 2021
Side , 2020
此空間(Y-Loft) 的一些角落悄然吸引了我。我使用蘋果作為視覺焦點,將其置於不同角落,透過鏡頭進行多角度的凝視。我採用了黑白處理,摒除色彩的干擾,專注於空間幾何與主體形態之間所形成的強烈視覺張力與光暗對比。
Some corners of this space (Y-Loft) quietly captivate me. I use an apple as the visual focal point, placing it in different corners and gazing at it from multiple angles through the lens. I employ black-and-white processing to eliminate the distraction of colour, focusing instead on the intense visual tension and contrast of light and shadow created between the spatial geometry and the shape of the subject.
Avoidant attachment, 2020