摘要
我時常懷抱著「回去」這個觀念。這個「回去」的動作思維並不總是很明朗，卻已隱然在每一件作品實踐背後的內在關聯逐漸拉開了層次：哲學基礎上互為兩造的面對姿態，繪畫性實踐中「自身」如何具有一開放性認識可能的關注，以及通過痕跡思維所欲指向的我們的種種處境：即刻開啟的位置確認必要。 藉以讓上述成為現實的是「逆旅行」這個作品的觀念與實踐的主動性。「逆旅行」起於痕跡所開啟的「位置確認」溯源思維，並以「尾隨」為其手段，來回於「曾經我所有的」場域與場域之間的旅行。這些「曾經我所有的」八個租屋處已不再為我所屬，因此必然不具備「回去」的合法性，我以隨機尾隨現居住於此的住戶入內做為進入空間的手段，再直達過往我所居住過的租屋前拍攝當下現時形貌。是以，「逆旅行」的溯源動作不在滿足回到過去、時光倒流，反而是透過現時他者所屬痕跡的凝視與觀看，展開位置與關係的建立。並且在處境與姿態的調節下，開放這一回去的旅行與現有住戶及管理員間相互並置發生的當下現實。 因此，這「回去」正是在當下的處境面對中開/解放自我的認知與建構：透過一次又一次個人不自主而起的「回去的旅行」，展開當下對痕跡與記憶的位置確認，並得以在「當下」這個意義下面對/開放關係：如何面對/開放時間？如何面對/開放記憶？如何面對/開放現實？如何面對/開放其他主體？
並列摘要
I went back to eight apartments I have ever rented from 1999 to 2003. Since I did not live those places anymore, my entry would be outlawed. So I took my action as a follower. I randomly followed an inhabitant who lives in those places right now. By pretending like I am still the one of legally household members, I have to alienate myself to be those authorized householders. Then I took photos of where I used to live. These eight places are mostly rented to someone else at the present, so my photos would not be the representations back when the time I was in. Through those changes of time and places, I see and memorize by returning back to those places I have lived before and relocate myself in those same old new places. Hence, my returning could be considered as a fulfillment of knowing where you are at every age. By relocating where we used to live could open us to where we were, where we are and where we are about to head. So we would recreate our very own locations rather then follow the old ones. And if we could start our returning right away and always knowing where we are at all times, we shall lose Time and Reality to non-located inter-subjectivities.