2-channel video (color, no sound)
Artist book (script), furniture pieces from my house
2013 marked the final chapter to the artist’s journey. Chen was at a loss about his future, whether to leave or stay, as his US visa was close to expiry. The time to go home drew near and Chen felt a familiar sense of detachment. As an attempt to figure out what may lie ahead, he set off examining his personal history in the past few years through organizing old photographs. 100 photos from the past were selected. Each photo was reassigned a future date, spanning one year in total and beginning from the date when Chen would leave the US (Aug. 31st, 2013—Aug. 30th, 2014): The Past in the Future was thus created.
After returning to Taiwan, Chen continued documenting his days for a year using an old date stamp camera. The photos taken turned into vintage images that alluded to a past prior to studying abroad, the Future in the Past. These two sets of photographs, The Past in the Future and the Future in the Past, became mirrors of a predicted future and an imagined past, reflecting on each other’s accuracy and authenticity.
2013年在美國簽證期滿之際，對未來的去留感到茫然，近鄉開始情怯，於是又著手整理舊照片，研究近年來的個人生命史，試著觀察出未來可能的生活情節與套路，共挑選了100張舊照片加上未來的日期，從離開美國那一天算起的一年內對未來預測（2013/08/31 – 2014/08/30），稱為「過去的未來」。
回國後，在這一年的當下，持續使用有記錄日期功能的舊式相機隨手拍攝，拍攝出的像是懷舊復古照片般，欲連結遙想出國前的過往，稱為「未來的過去」。這些兩組照片，便成為預測未來與真實當下未來的對照，對照當初的預測是否如實發生。Cinematography, Fine Arts, Photography2015
Magazine feature with images and text, collaboration with Not Today Magazine
ART FAIRS_SOMETHING SPATIAL/ Special Feature in collaboration with Art Kaohsiung
#abandoned #靜物研究 #垃圾 #靈光 #該不該存在 #雨衣 #塑膠袋 #堆疊/雙生/孤立(orchestra/duet/solo) #still_life #上街 #集體記憶 #這是垃圾嗎 #這會是展覽嗎 #obsession #拾物 #眼見為憑 #onthestreet #exhibition #catalogue #畫冊 #isthisart #公開展示 #有機物 #collection #collective_memories #plastic #auraEditorial Design, Fine Arts, Photography2015
Photo installation with readymades and found object including garbage bags, lunch boxes, plastic cup, clothes hangers, Manfrotto lighting stand, pedestal, dustpans, portable speaker, used iPhones 3GS, wooden frame, portable work lamp, some real garbages, and also with an A3 size image catalogue (artist book.)
Bamboo Curtain Studio
《Still Life Analysis》 is part of my on-site project during his residency at Bamboo Curtain Studio (Mar-May, 2014). The concept for the exhibition came from the artist’s ongoing curiosity in “garbage-like” objects. I have always been interested in garbage. I always pay attention to objects left on the street- things once used but cast away at the end. What is being thrown out? And why is it left on the street?” I look for trash on the street everyday, investigating, documenting, and reflecting on all sorts of “garbage still lives” left outside. It is merely the tip of an iceberg from the accumulation of my documentation everyday.
I believe that these garbage still lives are readymade sculptures of societal development. Through documenting and presenting these objects, I try to organize the relationships between culture, land, and collective memories within Taiwanese society.
這些靜物可說是在文明發展下，所形塑成的現成雕塑物，藉由記錄與呈現這些隨地的垃圾物件，去試著觀看台灣的社會文化、土地、文明與集體記憶之間的關係。除了一般的垃圾，更拍攝看似垃圾但不是垃圾、不是垃圾卻⽐比垃圾還多餘的種種靜物，甚⾄至戲謔地以消費者／垃圾製造者的⾝身份去介入，重新置放所謂的垃圾雕塑並拍攝之，再搭配拾獲物／現成物，在展覽現場拼湊成一個交互辯證費解的滑稽敘事舞台。Fine Arts, Photography2015
2013–Fine Arts, Photography2015
I always have the feeling of not being understood. But there are always people want to tell me their secrets. They might think that I would understand how they feel. Well, there must be some misunderstanding, which I do not understand.
I don’t mean to make this exhibition to challenge the audience, see if they really understand my work. There are so many different ways to perceive and interpret an artwork. Thus I would prefer to create some misunderstandings, shifting the context of the work beyond its surface. In other words, it is not just what it is. I am fascinated by these misunderstandings between communication and perception. Instead of giving answers, I would rather ask questions, to make it more poetic with the possible ambiguities.
Therefore in my work, fail portraits of people suffering from Insomnia with their eyes closed. The camera lens is blocked off by someone’s finger, but produces even more light. The photograph of snow is not just the snow, also the Italian opera is more than just opera. Wanted to be accepted and to be understood, I tell some secrets to my friend but only videotaped their facial expression without my speaking voice. All the punctums are missing in my photobook gutter, but the emotions are still there.
For many years I have been dealing with all sorts of things about communication and perception. I studied advertising and PR in college, learning how to use different media to communicate with consumers. Singing in a choir for 10 years, I share feelings with the audience and also with other singers on stage. For now I am an artist. I try to reveal myself, but at the same time have to think of how the audiences would perceive my work. We are not only making art for ourselves, after all. Now I suddenly realize why people always think that I would understand them.
Then again, I still hope someone could understand me.
不過話又說回來，還是希望有人能懂我。Cinematography, Fine Arts, Photography2015
Photograph, snow and dust
Utilizing the disturbing “dust dot” when scanning negatives, I blend those dots with snow scene to confuse the viewer. It looks like the universe from far, but it’s actuall snow and dust when getting closer.
利⽤用灰塵在掃描中最令⼈人困擾的細⼩小⽩白點,以雪景的負⽚片刻意沾染之,與⽩白雪紛⾶飛混合掃描後真假莫辨;遠看 是宇宙星塵,像是星系,近看(進⼀一步解讀)則是雪與塵。Fine Arts, Photography2015
2 sets of photographs displayed together
Fingerclipes utilize the common mistake of accidentally blocking the lens with a finger or part of a finger to explore the real and surreal between the image and me. Although the finger blocks the view, it creates an effect similar to the sunlight or flare. Often times it becomes unclear whether the finger was really there or something that we don’t understand. By jaxtaposing Fingerclipes and Insomnia, the failed portrait when people blink their eyes, together it creates ridiculous dialogue between the blinking moment, flare, sunlight, and the chance of these happenings.
「若有手指」利用手指常會擋到鏡頭的劣勢進行一連串探索，真實與虛幻的手指在影像中雖遮蔽了視線，但卻創造出太陽般的效果，同時在擺設中穿插意外閉眼、像是夢遊般的「失眠」肖像作品，同樣選自在拍攝時的失敗照，兩者進行荒謬的對話，陽光耀眼而意外閉眼（眨眼）的當下，是為須彌芥子的瞬間，也是手指遮擋鏡頭（視覺）的機遇Fine Arts, Photography2015
Artist book, digital offset printed at Conveyor Arts, 230 pages, 5x8 inch, 4th Edition, limited to 100 copies
I used my personal intimate memories accumulated in the two years I’d spent in the States to make a book. Every image’s “studium” has been intentionally positioned in the binding part in the middle of the book, making any faces or facial impressions invisible. The reader is then only able to peek at the abstract figures or ambiguous narrative elements instead of particular people or things; to me as the author, as a result of not being able to see, was able to keep the true memories in literally the middle of the book—the deepest spot in my memory.
我把留美這兩年之間的私密回憶整理成冊，將每幅影像的知點（羅蘭巴特）放置在書本裝禎的中間處，看不見臉，也看不見表情，於是讀者只能窺視我回憶的抽象形，或模糊的敘事元素，而非具體的人事物；身為作者也因為再次的看不見，使得真實的回憶得以保存在(書本)中間，也就是我的記憶深處。Fine Arts, Photography, Sculpting2015
Installation: photograph with white wooden frame, pins, and found construction site
I photographed the “post no bills” warnings on a temporary wall found on a construction site, and then hung the framed print back to the wall.
拍下施工牆面上禁止張貼的字樣，將相片裝裱後掛回。Fine Arts, Photography2015
Single-channel video (color, no sound)
I always have the feeling of not being understood.
I wrote a hundred personal things about myself, read them in front of my friends, and videotaped their responses to all my intimate secrets. At the moment, we were all vulnerably synchronized. The video documentation allows viewers to experience the whole-hearted moment, almost as if hearing a friend saying: "I know.”
我常常覺得自己不被理解，於是為了試著用影像捕捉理解的表情，我找了朋友對他們述說100件有關我個人私密的事情，邀請他們感受我，看著鏡頭做出回應，同時也希望觀者能夠從這之中體會到我的感受，以及我，彷彿對我/對你說著「我懂。」Cinematography, Film, Fine Arts2015
Nowhere in Taiwan is a selection of photographs made while traveling through my native country of Taiwan in the summer of 2011.
Influenced by the idea of the “road trip” in American photography, exemplified in the work of such photographers as Robert Frank, Stephen Shore, and Joel Sternfeld, I set out to find scenes and situations that seem to be “in between,” neither landscape nor cityscape but existing in an ambiguous space I call “nowhere.” Some of these sites are suburban, or partly urbanized, or abandoned and left behind. The aspect of location that interests me most has to do with the traces of human presence and gesture that reside or remain. In search of nowhere, I look for unexpected instances of intimacy, so that there is a sense of “nowhere” being unveiled.Photography2015