筆者透過求學與工作所累積的經驗,對於空間、光源、結構等等元素產生了一定敏銳度,筆者希望在這一系列的作品裡,可以給出一個總體性的感受,這樣的作品它不再是被區分為視覺的、聲音的或是表演的、建築的作品,而是一個總體的作品。 關於風景的問題,觀眾的過往經驗也同樣重要於所看到的畫面,也就是說周遭的感覺以及先前的心理狀態皆會影響當下地景影像的形成,基於此,在空間的每一個轉折,筆者都預設了觀者的心理,而這預設的基礎建立在過去創作的經驗以及當地地理歷史的考究與筆者在創作基地現場的充分感受所交織的結果,由於視覺空間受限於原本的建築體,所以利用聲音來打破物理空間的阻隔,透過當地錄音與收音的方式,讓空間完全被打破,並且用聲音的陳設配置來創造出一個人造音景,再搭配先前所提的人造地勢,就完成了一個自然的擬態。 反轉日常的物件與空間,並透過這樣「改造」的方式來探視物件的極限,當物件位置脫離常軌,身體經驗便產生不連續的斷裂,為了填補這間隙就會需要新的詮釋與想像,但啟動這個想像與詮釋的能力,應該就在於好奇心,而好奇心則受制於那對於世界的感受性,基於以上的連鎖效應,筆者直率的認為作品只是一個媒介,民眾透過這媒介開啟了感官,甚至說是開啟了大腦一個新的聯想路徑,於是藝術就在這之間產生。
Through the accumulated experiences of studying and working, the author has acuity of spaces, lights and structures to certain extent. The author wants to create a total feeling via the serial works. Thus, all of the works will not be separated visual, sound, performing or structural one, but the total works. About the paysage, the image saw by audiences is as important as the past experiences. In other words, the audience’s feeling about the surrounding and psychological conditions before have an influence on the form of images. Therefore, the author creates an artificial site in the transition of each space to preinstall the audience’s feeling through the author’s past creating experiences and field investigation in the local environment. Besides, the author uses local record and radio reception to pass through the obstacles of the physical space. And install the sounds to create the artificial soundscape. In the end, the artificial site and the artificial soundscape become an environment of imitation. The author tested the limit of the material through the way of reforming. When the usage of the material is aberrant, the body experience will produce discontinuous break. To fill up the crack, the audience may need a new annotation or imagination which is from curiosity. Consequently, the author directly thinks the art work is only a medium that the audience may open their body’s sense or start new imagining way via the art work. And the art exists in this process.