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Welcome: The Art of Invitation

招 · 術 Welcome: The Art of Invitation》台北 (2021)




Flipping through a book, memories remain. Closing it, memories of making it are unerasable.

——游本寬 2021.仲夏

我在疫情中創作 My Work During the Pandemic



後疫情社會可真會變成少少人的活動現象 ?


As the virus continues to mutate and we stay at home, we’ve come to realize that the best way to reduce the spread of (any) virus is to limit gatherings. However, will post-pandemic life really become a phenomenon of fewer interactions? Will the lifestyle we have grown used to during the pandemic have an impact on our personal ideologies?

專家說 : ​相較以往,歐美今年器官移殖個案數減少了,​只因為潛在的捐贈者,疫居期間食用了較多的垃圾食物,​導致器官捐贈的品質不佳 ; ​

而環保人士更憂心的是 : ​大量外送和網購所產生的垃圾,要環保觀念如何扭轉劣勢?​





As this country begins to emerge from the pandemic, I was surprised to see that the economic relief measures (provided by the government) have resulted in hiring trouble for employers. Millennials attach great importance toward maximizing the best value in their limited lives. Rejecting the traditional 9-5 work cycle has become a trend. On one hand, the demand for relief payments/bailouts remains, on the other, the market for luxury homes and high-end electric vehicles continues to surge.


不是全島一命或全球一體的大同曙光,而是⺠主和極權國家的意識形態衝突,國與國之間的政治不信任 ;

它讓我看到戴口罩與施打疫的紛爭,成了政客的操弄武器 ;


While staying at home, the media has become the master of information. What I have come to realize is that this is not the beginning of a unification, such as that of an entire island/community sharing the same fate, or the entire globe becoming one. Rather, it is the dawn of an ideological conflict between democratic and totalitarian regimes, and political distrust between nations. It has shown me that mask wearing and vaccines have become weapons wielded by politicians. The media also made me feel that despite the tragedies that ignited the suppressed pain of “Black Lives Matter,” it cannot change the fear some harbor toward those with darker skin.




和眾人生命相關的訊息持續讓人困惑不已,應該譴責那些使用它的壞人嗎? 難!

如果他們可以被看清楚,就無法贏得這個頭銜 ;

再說,網路工具的必要性,不也是「 網路好人」最鄕愿的藉口?


人性本惡的故事一則接著一則 ; 大眾唯恐成受害者的憂懼,一層裹一層;


What is more despairing is that in this seemingly never-ending pandemic cycle of opening and closing, the Internet has become a gun wielded by the ambitions/those with ulterior motives. The muzzle of this gun is not pointed at our current (and future) enemy, the virus, but at the bonds and trust between people. Information with high relevance to our lives continues to be difficult and confusing. Should “bad people '' who exploit this fact on the Internet be criticized/censored? It’s hard to say one way or the other. It’s not easy to see who these “bad people ' are when they are hidden and live among us. Besides, wouldn’t such criticism from the “good people” who advocate for a free and open internet be hypocritical? This seesawing dialogue between “good” and “bad” people, continued fraud/disinformation, deceptive rumor spreading... all symbolize the endless cycle of the evil we inflict upon each other. One after another, victims fall prey to the public’s fear-mongering, and it is hard to distinguish between truth and lies on the Internet, in all subject matters from the pandemic to politics.










My exhausted lifeless eyes cannot bear it! My heart wants me to bury my head in the sand and return to the pre-Internet era. Even if the culture and knowledge was a bit clumsy, the economy a bit worse, what’s the bigdeal-who cares? So long as you can avoid the political competition and neurotic fighting! In the endless contest between progressive and regressive forces, where is the “Savior?” Where is this “Safe Haven?”

Oh, and check out my Facebook post and artwork... “Welcome: The Art of Invitation”

2021 的新作《招.術》,不敢奢望大聲嚷嚷疫情期間所見、所思的片面,但盼藉由媒介的意念轉換,舒展 沉積的困頓、自建一點正能量。因此,《招.術》的台灣照像,有意讓商業活動中的人形和販賣情節缺席, 以平靜的傳播方式,邀約觀者更多想像和情感的參與。

《招.術》的影像,從沒有行銷包裝的「實物展售」開始,再進入公共場域中,沒有「實物展售」僅有各 行業招引人的看板訊息,以此展現──臺式招呼客人的直率。

《招.術》影像所並置的短文,則是有感於網路文化長期以來的亂象,在疫情大流行期間所帶出更多的焦慮和悲情,於是,從影像拍攝記憶的斷裂點出發,注入新的文字發想;意圖藉由:生活中的真影像、偽遊記, 讓新、舊、真、假的語言、故事和情感,來對應當今網路訊息真假難分的困境。簡單的說:




Welcome: The Art of Invitation is my 2021 work that I can only humbly claim to be fragments I’ve observed during the pandemic. I am hoping to build up some positive energy by transforming thoughts and ease my unhappiness. In the images of Welcome: The Art of Invitation, real characters and economic activities are absent in order to stimulate greater imagination and emotional involvement from people through restrained communication.

Images in Welcome: The Art of Invitation represent public goods and services for sale devoid of sophisticated marketing strategies. Without particularly attractive designs, these messages posted by a variety of businesses demonstrate a straightforward attitude among Taiwanese greetings.

Stories accompanying each image in Welcome: The Art of Invitation are inspired by the long-term phenomena of chaos in digital media as well as the anxiety and sentiments people feel during the pandemic. At that pointwhere the memory embodied in a photo breaks away, I add my own fictional narratives as an effort to respond to messages found online in which fiction and reality are indistinguishable. I mix real images and fake journals with old or new stories, and true or made-up words. In short, they are:

The homely Taiwanese style advertising signs very dear to the public are contrary to the untrue but very tempting online marketing strategies.

Plain and direct messages make us rethink the exaggerated character of online promotion.

Very authentic fiction refers to online messages that there is no way to confirm the authenticity of.

《招.術》的影文並置結構中,有單張跨頁的影像,也有上下或左右並置的「近似時空」影像,意圖藉類似影像間的流動想像,突顯網路傳播過程中,觀者多不花心思、匆匆一瞥的心態,並進一步探討下列相關 的議題 :


創作者要從本質性關懷的對象中轉移,不是那麼容易。《招 . 術》並置既連續、又間斷的影像,不全是拍 攝時拿捏不定、情緒徬徨的寫照,而是表徵 : 拍照過程,作者很容易因為高度的關注對象,產生情不自禁 的眷戀反應 ; 換句話說,創作情感方面,如同現實中熱戀的男女,見面之後捨不得分手、讀你千遍也不厭 倦,因此,在重複衝動的能量下,對同一個對象進行了連續的照像。

思,人在照像中的主體性 抽象表現畫家可以藉由顯著的筆觸,展現自身介入在繪製中的主體性,反觀攝影家頂多就只能用稍長時間 的曝光,刻意搖晃機身產生晃動的影像來展現自身介入的主體性。或許就是因為拍照身體的限制,讓不打 擾拍攝對象的「拍攝者透明化」理念,被廣泛的採納。但是,《招 . 術》對於人在照像中的主體性議題, 則嘗試以並置的「相類似影像」來表徵──人在拍攝現場,努力的想要在當下做出決定的糾結實情,甚至 於輕聲的提醒觀眾 : 「你看這裡,你再看一次這裡──影像中,快門與快門之間相隔的長度

「看到了沒 ? 你到底看到了沒 ──影像中,現實時間的深度

既連續、又間斷,影像紀錄的破口 既連續、又間斷的影像思緒,來自於觀察近代數位影像軟體,如何將短暫幾秒鐘的連續動態影像,造成 靜、動合一,並提供攝影者從眾擇一的方便性。由此反思,拍照之後那些沒有被選上的影像最後命運如 何?被判永久刪除?不經意遺忘、流失後,在不同情境下,再被重新找出來成為作品?果真如此,所謂 的「影像紀錄」就沒有永遠死亡這件事!

有感於此,《招.術》並置的影像,提醒 : 創作活動中,作者無法避免的主觀選擇

凸顯 : 影像還原現場,在資訊上的斷層與落差

強調 : 人在認知的過程中,總是不連續,甚少全程參與的現實

體悟 : 靜態影像從未被完全固定下來的哲思

In Welcome: The Art of Invitation, images and texts are arranged side by side. Some single photos spread across two pages, some are two photos arranged up and down or left and right on one page. By making use of the flowing imagination from image to image, I mimic the fast online browsing in this era in which information is never really focused upon clearly. Further issues I explore are:

Sentimental attachment to the subject Welcome: The Art of Invitation juxtaposes continuous and discontinuous images and symbols. During the time spent taking photos, I unwittingly developed sentimental attachments to the subjects I was shooting.

My subjectivity in photography While abstract expressionist artists show subjectivity through an intense physicality of brush strokes in their paintings, photographers try to remain unseen, objective, and unobtrusive. Fundamental to the act of photographing is having a physical presence on scene where creation of the photograph occurs. In Welcome: The Art of Invitation, I juxtapose comparable images together on a two-page spread to call attention to my subjective thinking and to reveal the struggle in making decisions at the moment of photographing.

Continuity and discontinuity, the cracks of filming and recording My thoughts about images that are both continuous and discontinuous came from my observation of digital image software recently developed. They produce static or dynamic images by taking continuous photos in afew seconds and conveniently provide photographers the ability to select those they want. So what happens tothose photos not selected? Are they to be deleted for good? Or, after being forgotten for sometime, they might be rediscovered and presented one day under certain conditions? If it is true, nothing would really end in filming and recording. Thus, Welcome: The Art of Invitation addresses several points:

Reminding myself that I can’t avoid subjective decisions for my work. Outlining the discrepancy and gaps between the scenes and the information. Emphasizing that one seldom is present all the time during the discontinuous formation of recognition. Realizing that static images are never fixed.

《招.術》在藝術書本的呈現形式上,並不閃躲裝訂線對於跨頁圖文的干擾,反而刻意讓它穿越每一件 跨頁的作品,強行將內文區隔成為左邊、右面或上端、下緣的獨立空間,使讀者得透過潛意識的認知與個人先前的經驗,將已經被區隔的訊息加以併組。《招.術》希望藉由跨頁文化和下凹、微暗的裝訂線 質感,能碰撞讀者對於書本閱讀的慣性,並對書本裝訂線所造成跨頁文字、圖像分分合合的現象,提出 另類的藝術思維。 大圖,跨頁,眼珠,悠閑,讀半邊,微弧,書丘,滑溜,下陷,光暗,


書,翻頁,前者的記憶仍在;合起來,過程的回憶,抹滅不掉 ── 游本寬 2021.仲夏

The design of Welcome: The Art of Invitation, an art book publication, doesn’t dodge or avoid the limitations and interference from a book’s central binding, or gutter. Rather, this book embraces and features several two-page spreads and text is forcibly pushed into the margins on the left, right, top and bottom. Such a layout, flowing between two pages and divided by the center, suggests readers incorporate separate messages by subconscious recognition and prior personal experiences. The dark edges of images and text that intentionally disappear into the book’s gutter challenge one’s customary reading pattern and behavior. This design highlights an alternative and challenging approach to the book’s format through the use of two-page spreads, disconnected text, embrace of the central gutter, and edges of images that sink into darkness.

Large pictures, images across pages, eyeballs, relaxation, reading half side, slight curve, book ridge, sliding, sunken, dim, gutters, ascending, reading carefully, slight curves, another half, images, 3-dimensional, words, spaces.

Flipping through a book, memories remain.

Closing it, memories of making it are unerasable.

Ben Yu August 2021



p24.「拿名片換紗窗」(Take A Business Card For Window Screen Replacement) 台北市北投區 /2012

生鏽欄杆玻璃窗後面:「喂!要找我爸爸修理紗窗嗎?他外出工作了」「今天晚上?很抱歉,已經排滿了,明天才有空喔!」「 ……阿姨很急?讓我來看看……明天早上 11:40 如何? 」「……好, 11:35 到妳們家門口」「 請給我地址,講慢一點,我只有國小四年級,寫字不夠快」「 ……阿姨現在想提前到 11 點嗎?」 「 爸爸有交代,改時間加收 28 塊, 如果是提早再加 93 塊」 「 ……好,算便宜一點,少8塊,材料及施工費當場算,不可以討價還價,師傅說的算」 「 ……阿姨對不起,我剛才沒有注意妳是住在五樓,因為爸爸年紀大了,帶工具、材料爬樓梯比較辛苦,所以 每一個樓層還要再加 38 塊」 「 ……好,不可以再討價還價了喔!」「……嗯嗯,聽到了! 阿姨是說隔壁家的大媳婦也要換紗門嗎?」「 可以,明天兩家一起做。大姐姐家裡有傳真機嗎?我把型錄先傳過去,傳真不收費。」「阿姨對不起,因為換紗門、紗窗的時間已經超過中午,要多付師傅便當錢,這部分隨意」 「 ……噢!要再想一想嗎?」「 阿姨我要提醒妳,下一通電話就要付改時間的費用喔! 謝謝來電,有空到菜市場的店裡坐坐」

「 妹仔!幫爸爸拿衛生紙來,剛才整卷掉進馬桶裡了。」

A voice came from behind the rusted frame and glass window, “Hey, looking for my dad to fix a screen window? He is out for work.” “Tonight? Sorry, his schedule is full tonight and won’t be available until tomorrow.” “... Aunty, you are in a hurry? Let’s see… 11:40 tomorrow morning, is it OK?” “... OK, 11:35 in front of your door.” “Please give me your address. Slower, please, I am only a fourth grader, I can’t write fast enough.” “... Aunty, you want it to be earlier, at 11:00?” “My dad told me to charge 28 for changing the time, and if the appointment is moved earlier, we charge another 93 bucks.” “... OK, giving you a discount of 8 bucks. Materials and labor will have to be calculated by the master repairman on-site, there is no bargain on master repairman’s numbers.” “... Aunty, sorry, I did not notice you live on the fifth floor. Dad is no longer young, and it is hard for him to carry the tools and materials upstairs, so we charge 38 bucks for each floor.” “... All right, no more discount, OK?” “... Hm, hm, I heard you. Aunty, you said your oldest daughter-in-law next door also needs to replace a window screen?” “Yes, both cases can be handled tomorrow. Does this sister, your daughter-in-law, have a fax machine? I can fax our catalog to her first. No charge for faxing.” “Sorry, aunty, because the replacement of the door screen and window screen will take the master repairman’s time over lunch, please pay for his lunchbox. You can decide how much.” “... Oh, you need to think about it a little bit longer?” “Aunty, allow me to remind you, you will have to pay the charge for changing the time in the next phone call. Thank you for calling, and you are welcome to visit us in the market.”

“My baby girl, bring your dad some toilet paper. I dropped the whole roll in the toilet.”

p52.「鹿和訓犬有賣車」(Dog Training and Car Dealerships) 彰化縣鹿港鎮 /2020

艷陽下,車後座載著前女朋友留下來的賓士狗,前往鹿港吃她喜歡的不加蛋蚵仔煎。路經吳厝巷巷子口,紅紅四根巨大的宗廟牌樓,看不到?幾乎不可能。紅柱左邊,兩根傾斜的水泥電線杆像畫工程圖般,交叉成尖三角形的空間,往下,包夾了 一片小小的太陽能板,再往下,看似控制電氣箱,笨拙、龐大。順著坑坑洞洞馬路向右走的訓犬中心可有偏方?如果報名敏捷課程,賓士狗或許可以加 3000 塊錢賣出;再報名飛盤短訓,可以再加 5500 元; 至於防衛班?算了!牠恐怕承擔不起。


Under the scorching sun, I ride with the black-and-white faced dog left by my ex-girlfriend sitting in the rear seat of my car to Lukang. I am going to eat an oyster-omelette without the omelette, a dish she loved. As I am passing the entrance of Wu Lane, the four huge red columns of a temple gate are in sight, no way to ignore them. On the left side of a column, two tilting concrete electric poles form a sharp triangle like a construction diagram. Under them is a small solar panel standing on an awkwardly oversized power distribution box. Riding along the road with many potholes, the dog training service is on the right. Does it have unusual ways to make this dog a better pet? Perhaps after the agility training, I can sell this dog for an extra 3 grand? And after frisbee training, another 5.5 grand? How about the personal protection training program? Forget about that idea. This dog might not be able to endure it.

Steering wheel at hand, I am calculating, after a couple of months, when the dog training programs are over, I shall stop by the three pre-owned car dealers by the red columns. Once my car is sold, I am going to have a brand new two-seater sports car… and, and… I can’t help but grin.

p80.「紫百合理髮」(Violet Lily Barber) 新北市石碇 /2018

街口第三家,前不久才搬來的新鄰居( 聽說是從縣政府違章建築科退休,名字不詳 ),將石碇公路旁,原本是雜草叢生的小空地,先鋪上水泥,連夜再趁著里長來不及通知管區前,立柱、加蓋,撐起了鐵皮屋頂( 厲害!果然是行家 )。於是,他那一輛裕隆古董級的老車──勝利,從此不再擔心風吹雨打太陽曬( 車棚的另一半邊,還出租給隔壁的小賴 )。

車棚右半邊的後方,有鐵門的儲藏室上鎖了 ( 內容不詳,有點神秘 )。

左半邊,三株人造的紫百合,用粉紅色的塑膠繩繫在嶄新不鏽鋼的欄杆上,青雨傘靠在一旁( 老男人耍浪漫?XXX )。

車棚內,牆壁上懸掛著「理髮」的指示牌( 冷水洗頭?百塊不找?免費停車嗎? )我看,最好站在門口先問個清楚,免得坐下來後悔來不及。

The third household from the entrance of the alley is a new neighbor(a man said to be a retiree from the County Government’s Division of Unpermitted Construction, but his name is unknown). He was the man who paved concrete on an empty parcel of land next to the expressway late one night. He also erected columns and added an iron roof before the neighborhood chief could report it to the local police (indeed, he is an expert in illegal construction). So his antique, local brand car, Yulon Cedric, is no longer exposed to storms or the scorching sun(Half of the canopy is leased to Little Lai living next door).

At the rear of the right, a storage room is locked with an iron door (What is inside? It makes people curious).

On the left side, three fake violet lilies are tied to the stainless steel rails with pink plastic ropes. An arctic blue umbrella leans against the rail (Is it the romantic element of a retired man?).

The sign “Barber” under the canopy intrigues me (Washing hair with cold water? Haircut 100 bucks? Free parking?) I think I’d better find out before going in. Once I sit down in the barber chair, it will be too late.


p142.「點菜三角窗」(Corner Window for Ordering Food) 台北市中山區 /2015


青菜豆腐 / 蛋花湯 10 30 ( 青菜加量、豆腐加大、蛋兩顆 )。

蚵仔酥 /鹹酥蝦 100 120 ( 自家後院新鮮九層塔,進口胡椒鹽 )。

炒螺肉 / 五花燒肉 100 120 ( 小朋友以前寫錯價,不好意思 )。

炒牛肉 / 羊肉 100 120 ( 水耕空心菜,吃到賺到 )。

乾煎虱目魚 100 120 ( 每天從台南搭高鐵來,加長煎魚時間 )。

客家小炒 100 120( 南北韓情勢緊張,鱿魚進口有限 )。

回鍋肉 80 100 ( 高級蒜苗,真川菜 )。

吳郭魚 ?? 140( 大量的魚塭池塘填土蓋大樓 )。

糖醋排骨 停止供應 (客人要求不油炸、不加糖、醋要少,老闆娘自尊受損 )。

咦?「招 牌 飯 」為什麼被蓋掉了?


At the back of the Taipei Railway Station, store owners there know best about the consequences of global supply chain disruption.

Soup of Green vegetable & Tofu & Egg 10 30 (more veggie, more tofu, two eggs)

Deep Fried Oysters/Deep Fried Peppered Shrimps 100 120 (home-grown basil, imported pepper)

Fried Snails/Braised Pork Belly 100 120 (apologies for the wrong price labeled by child)

Fried Sliced Beef/Fried Sliced Lamb 100 120 (fried with water spinach, very good deal)

Dry-Fried Milkfish 100 120 (delivered from Tainan daily via high speed railway; cooked with extra time)

Hakka Stir-Fry 100 120 (limited imported squids due to the soaring tension between North and South Koreas)

Twice Cooked Pork 80 100 (high-end garlic sprouts, down-to-earth Sichuan flavors) Tilapia?? 140 (their fishponds have been filled for highrise buildings)

Sweet and Sour Ribs Service Stopped (restaurant proprietress felt indignant about being asked not to deep fry ribs, not to add sugar, and less vinegar)

Why? Why are the words Signature Meal crossed out?

An old customer turns left and walks past a plumbing business to the corner window to inquire of Mei-Ju, who was half hidden behind the window, but showed her smile to passersby from morning to night.

p90.「金紙包檳榔」(Betel Nuts Wrapped By Paper Money) 台中市大甲區 /2010






A tree’s dark green leaves grow like unmanageable hair, providing shade to a black sedan car.

Reading the horizontal sign vertically:

“Paper Cars. Golden Parking. Buyable. Paper Gold. Buy. Available. Service Hotline. Every. Parkable.” The arrow points left, the road slightly slopes down. By the concrete electric pole, on the right column of the bulletin, a sign bears only the characters for “Betel Nuts”—a store without a name.

“Hair Salon. Men and Women. Nuts Betel South Toward. Freshly Wrapped Betel Nuts. Car. Enter. Park. Please.”

The arrow points right, to a 4 story building off in the distance with a water tower on the roof.









因此《招.術》在上述因素考量下,編輯了自己歷年藝術影像庫中,和「常民看板式行銷」手法相關的(舊有)影像,結合新書寫的「假遊記」,意圖讓「新」「舊」 「真」 「假」的圖、文故事,混搭出一種足以和網路假文化強烈對話的形式。


















我以​ ​ 「擬真」的小說、​​ 類「新地誌型攝影」的直白文字​


★關於擬真的小說 ​(1)











就像在《招.術》p20「 找不到、吃不著」這件作品所並置的文字故事發想,就是從自身的經歷、感觸,加上在Google所搜尋到的訊息引用而編寫出的故事。

還記得…… 2020年秋末那一天的中午,我的福斯在屏東縣的長治鄉東繞西繞,想找點東西填肚子,突然間在一個非常不正式的停車場附近,看到了一大塊「老夥房(找不到餐坊)」鮮紅色的廣告看板,因為被名字給吸引了,所以停下來想看看究竟。心想,跟著箭頭,應該很快就可以看到這家店的廬山真面目。哪知道,一條巷子接著一條巷子,沿途的住家大多沒有太刻意的整修。走著,走著,不經意的和一位只穿著內衣,忙著搬動雜物的中壯年點了點頭後,繼續頂著大太陽為顧「巴肚」而努力找著,找著……正在想放棄的時候,這家飯店就迎面出現了!​


「 噢,好像今天休息喔!」​





★關於擬真的小說 (2)

至於《招.術》p68「店,右轉」則是 2017年基隆外木山照像隨記。​


而影像的拍攝的地點就在基隆外木山漁港,自己前後去過好幾次,對於附近的協和火力發電廠、緊鄰著港灣的活動中心、宮廟建物和人員活動的情形,還算有概念。故事中的「阿英麵店」 因為就座落在大廟後方,網路的推薦文時有所見,即使從沒有走進去、坐下來吃過,但會想讓它出現在自己的故事之中。​




★關於類「新地誌型攝影」的直白文字 (1)​

除了擬真的小說外,類「新地誌型攝影」的直白文字書寫,是個人從「新地誌型攝影」 照像所體悟出的資訊中性、直白美學的傳播方式,並且進一步的嘗試將其中的精神轉換成:白話、資訊、類純訊息的文字組構。​

以《招.術》p 144 的「鐵皮收驚」為例,​

文字故事以並置圖像中的「影像元素」作為描述對象,用一種刻意既「乾」又「 靜」,無段落常規(甚至沒有修辭)的單純「語詞」來串組視覺的流動,於是──​


1、2、3、4、5、6、7、8、9……31、32 條直式、一人高,鐵板圍牆後面:三層樓米色鐵皮屋,紅鐵條修邊屋頂,兩扇鐵窗。​


空地正對面,二層樓淡綠色鐵皮屋頂, 小鐵窗(排水管)。 鐵板圍牆更後面:3 樓鐵窗、窗型冷氣、鐵窗、鐵窗、鐵窗。 4 樓(半弧形上緣)鐵窗,窗型冷氣, (漆黑空房子)鐵窗、鐵窗,窗型冷氣, (漆 黑空房子)。 ​ 5 樓(半弧形上緣)鐵窗,窗型冷氣,(漆黑空房子),遮雨棚、鐵窗、鐵窗、窗型冷氣。​

最後,將視線拉回前景,將影像中的綠樹及鐵皮上的塗鴉 (收驚→)化為簡單的兩條新聞訊息──​

​ ​ ​ 早報頭條:「香港反送中」,第一棵矮綠樹收驚→第二棵矮綠樹…… ​

​ ​ ​ 晚報頭條:「香港實施國安法」,第三棵矮綠樹收驚→第四棵矮綠樹收驚→…​…

★關於類「新地誌型攝影」的直白文字 (2)​


再看《招.術》p90 的「金紙包檳榔」這件作品,​


由上而下描述── 大澎頭,深綠樹,黑轎車,躲樹蔭。


並刻意的將招牌上的文字,隨興組合呈現── ​

​「紙車。金停。買可。紙金。買。可。宅配專線。每。車停可。」​ ​


接著,從招牌上的箭頭方向,順勢添加了一點點地景的描述,以及對象地理位置的關係,並將視線所及的招牌文字再一次隨性組合,也就是── ​

​ ​ ​ ​ ​ 箭頭向左,大馬路微下滑,水泥電線桿旁,公告欄左,無名檳榔店。​

​ ​ ​ ​ ​ 「美髮屋,女。男。仔菁投南,菁仔包葉。車。進。停。請。」​

最後將視線終結在遠方的小水塔── ​ ​ ​ ​ 箭頭向右。遠遠四樓房,屋頂有水塔。 ​












★為什麼是「藝術攝影書」? ​



最初始的概念是:展現作品在吊掛、平面觀賞之外的賞析創意;強化大量印製的攝影書,呼應照像藝術的複製性本質;讓非單件的藝術攝影書,有形的展現藝術傳播的效應。 ​
















看起來只是再一次的對作品面積大小,由上往下閱讀方向改變的實驗,事實上,是企圖藉由這種看似簡單、身體自動後退的心理反應,讓閱讀的身體在現實環境中所延展出的小小空間,有機會去引導讀者對「藝術距離」 的巨大體悟。​




《招.術》 出版之前,即使早已知道:現實中,單純對藝術有興趣的大眾,和非常關注創作活動的小眾,兩者共時並存的事實,但從沒有認真的去想它、面對它。應該是這個系列創作的過程讓我警覺到:在科技環境滾動變化的世代中,大眾已逐漸能接受虛擬接觸的「後疫情社會」現象,於是便嘗試以作品的觀點,再省思藝術展演的定義;開始構思,如何整合看不到人、聽不到聲音的資訊告知,和實體書本接觸的體驗?​
















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