Artist Statement:
My artistic practice focuses on exploring the "locus of attention" and how individuals can reclaim their freedom of perception. The core structure of my work serves as a direct response to and questioning of the exhibition's central concept: The Red Frame as a symbol of focus and limitation.
I frequently create ruptures in the hyper-real spaces of everyday communication through looped short-form videos. These pieces employ dialogues with a literary quality, magnifying and distorting the semantic and emotional content of sound. This creative impetus stems from the multi-layered marginality and difficulties in self-expression I experience as a non-binary queer from Taiwan and an ethnic Chinese individual navigating two languages.
In my video narratives, the Red Frame is more than a mere symbol; it is a structural manifestation of the internal and external worlds:
Structure and Contradiction: Sound and dialogue are placed within a distinct "Red Box", symbolizing the disconnect and contrast between the "speaker's inner world" and the "listener's outer world." Dramatic emotional occurrences unfold inside the box, while the outside often remains in the stasis of "nothing is happening." Viewers are invited to shuttle between the inside and outside, differentiated by color and black-and-white palettes, thereby questioning habitual perceptions of reality and representation.
Freedom of Perception: My work intentionally offers a "soul's-eye view" experience, as if watching an ordinary life film from another dimension. This provides a viewing mode that "departs from visual centrality," inviting the audience to reconnect with themselves and their surroundings through listening—that is, perceiving the distorted dialogue and emotion within the Red Box.
My work emphasizes the fluidity and "temporality" of sound, attempting to transform listening into a profound "somatic experience," thus reconstructing the relationship between "seeing" and "being seen." The Red Frame is not a boundary, but a reminder: a call to maintain inner space and sensibility in a world dominated by information and images. It encourages us to relearn how to "hear" ourselves and the world, ultimately pointing toward the potential "resonant structure" between humanity and all things.
As we traverse the space inside and outside the frame, every moment felt, every present, unfolds as a beautiful film, with all things responding to our existence in their own way.
藝術家作品陳述：
我的藝術實踐聚焦於探討「關注的所在地」以及個體如何重建感知的自由。作品的核心結構，正是對展覽理念——即「紅框」（The Red Frame）作為聚焦與限制的符號——最直接的回應與詰問。
我經常透過循環的短篇影像，製造日常交流中超現實的空間斷裂。這些影像利用具備文學性的日常對話，將聲音中的語義和情感進行放大與扭曲。這種創作衝動，源於我作為來自臺灣的非二元性別酷兒，以及在兩種語言間切換的華人身份，所經歷的多重邊緣性與自我表達的困難。
在我的影像敘事中，「紅框」不僅是一個符號，更是內在與外在世界的結構性體現：
-
結構與矛盾： 聲音與對話被置於一個獨立的「紅色框框」內，象徵著「說話者的內在世界」與「聆聽者的外在世界」之間的斷裂與反差。框內是戲劇化的情緒上演，框外卻是「什麼事都沒發生」的日常停滯。觀者被邀請在彩色與黑白的畫面區別中，選擇在內外之間穿梭，藉此質疑對現實與表象的慣性認知。
-
觀看的自由： 我的作品刻意呈現出「靈魂視角」的觀看經驗，彷彿在另一個維度觀看一場平凡的人生電影。這提供了一種「離開視覺中心」的觀看方式，邀請觀者透過聆聽——即對紅框內對話與情感扭曲的感知——重新連結自身與周遭環境。
我的作品強調聲音的流動性與「時間性」，試圖將聆聽轉化為一種深刻的「體感經驗」，藉此重建「看」與「被看」的關係。紅框不是邊界，而是一種提醒：提醒我們在資訊與影像主導的世界裡，保持內心的留白與感受力，重新學會如何「聽見」自己與世界，最終指向人與萬物之間那份潛在的「共鳴結構」（resonant structure）。
當我們穿梭於框內與框外，每一個被感受到的瞬間與當下，都正在上演一場美麗的電影，萬事萬物都以各自的方式回應著我們的存在。