舞台的可變視域：當代藝術中的可愛與模型

「可愛」作為一種肉體的延伸狀態，顯露出一種難掩泛紅與啟齒的羞澀，這樣的身體感在創作上轉而投射在小孔的觀景窗下顯現意識的空曠感，小孔暗箱將視角完全包覆，屏住呼吸按下快門瞬間使身體達到觸發的高潮，流量將取決於次數，直到身體不能負荷。如何同時截取動態與靜態攝影的畫素，是我一直以來感興趣的地方，為此我在兩者之間一直找尋結合的方式，數位化的浪潮開始漸漸打破兩者的疆界，但依舊有段距離需要克服。對於攝影機具與畫素的渴望讓我懷著無知去複製可視的影像，有如御宅族幻想戀愛虛擬可愛的角色這般狂熱。 <舞台的可變視域( Staging Visions) >系列作品就在這樣的趨使下使用攝影機轉接移軸鏡完成，由於移軸的關係使得焦點與透視改變而畫面具有如微距攝影般的模型化效果。戀物的狂熱讓我不停地嚐試各種鏡頭與機身組合的效果，目的不外乎是試圖使看不到、存在於視覺範圍之外的東西，似戲劇性，有邏輯的方式轉而變成可見與不可見的動態畫框。

關鍵字

可愛；模型化；框架；暗箱；像素；移軸

並列摘要

As being the elastic state of body, the cunningness exhorts a kind of unspeakable shyness and flush. Often times, my work projects the sensational system of body through the tiny hole of viewfinder while features the hollowness of consciousness. The diverse angles of viewing was encompassed seamlessly by the dark chamber, the breath was hold, while the shutter movement leads the body to a explosive rush; the process continuously suffocates the photographer to a nearly unbearable extent. The urge of duplicating the visible images comes from my deep affection of photographical devices and pixels; it seems to resemble an Otaku who obsesses with the thoughts of marrying the cute virtual characters. The artwork series hence respond to the mentioned personal intension using tilt-shift lens, with which the focus and perspective are progressively distorted, and the miniature effect of microphotography was achieved. The frantic fetishism makes me to rearrange numerous lens and camera combinations consistently, in order to present and construct something beyond the visual experience in a theatrical yet logical manner, eventually, the visible as well as the invisible dynamic frameworks are formed.