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16537 install_1 HR_small拷貝.jpg

存/在:載體 , 錄像 , 5'28" , 2018 

<存/在:載體>作品由雙頻道錄像及數位影像輸出所構成。以投幣式的兒童遊樂機 器作為維度穿越開端,透過有機景觀與數位輪廓疊合產生的合成的速度,將乘載日 常幻想的機器,擴延成為流動靈魂和跨維度記憶的載體。「在場的消失」與「不在場的存在」作為後科技時代經常存有的感知狀態。透過虛 擬的存在,空間的界線變得模糊,線性時間趨於疊合狀態。透過虛擬與現實的黏 合,生成一個真實與虛擬相互取代的狀態。如 Paul Virilio 在《消失的美學》一書中 所提「存在與不存在互為影子和幽靈」的關係,透過物的本體/輪廓/影子團塊三者 之間的時空組合,企圖在穿越與置換的擴延場景之間,重新建構對於真實/虛擬 的 感知想像。

This work consists of a two-channel video installation and digital images. This work uses a children's arcade machine as the starting point and fuses it with overlapping organic landscapes and digital contours, creating a fantasy sphere. The train then transforms into a medium that carries a person's soul and memories. "Presence and Non-presence", "Non-presence and Presence", these are the states of perception that often appear in the post-digital age in which the boundary between virtual and reality is often blurred, and time, no longer linear. In the Aesthetics of Disappearance, Paul Virilio traces the relationship between "the existence and non-existence of the reflection and spirit". Through the combination of ontology, contour and shadow, the perception of real and virtual can be reconstructed in one's imagination. 

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