影像如分子鏈結

在我的創作中，瀰漫著一種白日夢的狀態，半睡半醒之間的模糊地帶，是一種把現實情境分子化的歷程。我們總在想像著、傳說著一個如影像般，無法證實的故事或小道消息，宛如夢境的不斷輪迴。第一章《微弱到就像你我所看見的》所要談的是影像對我來說，那種傳說的經驗與狀態，其實就像是日常芝麻小事一般，非常微弱，但卻開始讓我們展開一種情境上的想像，而我試圖去挖掘情境與作品影像之間的關係。第二章《睡眼惺忪中從夢境剝離》在談論創作中，影像的品質就如同一場白日夢一般，是我想像中的現實，讓腦中吸收的日常資訊得以重新轉換，再呈現出影像中模糊不清、謎團重重的狀態，那是一種非常私人的想像歷程。第三章《不得不以一種超展開的手段》所要談的則是我在影像的操作，和影像本身所要表達的狀態，是一種非線性的展開方式，是一種各個片段影像剖面重新組裝的過程，讓原本的訊息與符號重新打散、斷裂，開啟一連串影像的迷宮，而觀者只能被模糊語境，以及由細碎分子所組成的影像結構所包圍，逼視影像中的現實。第四章《也許都淪為B級片的類型之一》談的是影像背後的政治關係，以及創作動機和意圖，並談到影像創作中的虛構與莫名，正是不斷產生的影像黑洞，期許閱聽者能在當下一同墜入情境之中，並在影像與真實之間的縫隙，尋找讓想像天馬行空的可能性。

關鍵字

白日夢；超展開；謎團；影像黑洞；誤讀

並列摘要

My artworks are spread with a state of daydream, which is a vague area between awake and sleep, and a process that moleculizes real situations. Just as dreams are keeping reincarnating, so are we always imagining and telling an image-like and unverified story or rumor. Chapter 1, "As Weak As You and I See", discusses what I feel about imagery. To me, the experience and state of telling is just as weak as the trivial things we see every day, but it allows us to start imagining situationally. I am trying to discover the relationship between situations and imagery of my work, and the relationship between reading and paralogic. Chapter 2, "Stripped From A Dream While Being Drowsy", discusses that in my creating process, image quality (which is just like a daydream) is the reality in my imagination. It enables the everyday life information absorbed by my brain to retransform and present obscurity and an enigmatic state in imagery. This process is a very personal imagination process. Chapter 3, "Can't Help But Take the Measures of Hyper-extension", discusses my image manipulation and the state the imagery expresses. My manipulation and the state the imagery expresses are a nonlinear way of extension and a process of recombining the cutaway shots of each film clip. This process allows original messages and symbols to be broken up and scattered to open a series of labyrinths of imagery. Audience can only be surrounded by vague context and an imagerial structure consisting of fragmented molecules, and therefore can only watch the reality in imagery intently. Chapter 4, "Maybe They All Fall Into A Type of B Movies" discusses the politial relations behind imagery and creative motivation and intention. It also argues that the fiction and nonsense are just exactly the continuously arising imagery blackholes which expect audience to fall into the situation together at the same time and look for the possibility of wild imagination in the crevice between imagery and truth.