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Demise of a Heavenly Body


THE DEMISE OF A HEAVENLY BODY describes the perspective of the author toward the environment, in which the contemporary life is experiencing an approaching of the end of world, with the clues in the details of our living, reminding us that we’re ahead of a perishing world. Through the characteristics of reality and symbolism of photography, the author tries to construct a context by the interconnection of image and installation, allowing the audience entering into the territory of imagination and presage.



In the usage of photography, the author tries to incubate a feeling of anxiety and also a sense of reality of something might/had been happened, through the editing of walls, to allocate pictures in different sizes in the exhibition space, as galaxies within the universe interacting through the gravity and light of beam. The author wishes photography could echo with the experiences of each audience, to generate even more feelings and imagination.



Talking to the installation, the author used two reports about the atomic power and one stopped clock with a skipping second hand in cooperating with the sense of uncertainty and time-eliminating characteristics of photography together, pulling the events from the past to the modern living. Subjectively the author feels that the end of the world was started from the time when Japan was dropped the first atomic bomb. But the era never left us since 1945, the contradiction and crisis of atomic power still around in our environment, and it seems those reports are just like memories of yesterday, even most of us have not been experiencing that age.



Finally, the moment that the second hand stays temporarily, is when the first atomic bomb burst above Hiroshima.

星體的殞落 所描述的是作者對於身處環境的觀點與想像。對於作者而言, 當代生活正在體驗著末世的來臨, 而其線索就存在於我們的生活細節中,提醒著我們正往一個殞落中的世界邁進。透過攝影媒材的真實性與象徵性的交互運用, 作者試圖編排出圖像與裝置相互呼應的脈絡, 讓觀眾進入想像力與預視感的領域之中。


在攝影作品的使用上, 作者嘗試營造出事件發生的不安感與現實感的氛圍。透過牆面的編輯與配置, 將照片以不同的大小方位安置在展場之中, 如同不同的星系存在於宇宙之中, 彼此以重力與光線相互產生連結與呼應。在攝影所觸及的議題上, 作者希望能與每位觀眾自身所擁有的經歷產生共鳴, 進而引發更多的感受與想像。


在裝置的題材應用上, 作者使用了兩篇關於原子能源的報導與一個跳針停止的時鐘, 搭配上攝影作品的不確定感與時間消弭的特性, 將時空從過往的歷史拉回到現今的生活。就作者的主觀與感受來說, 他認為末世從日本被投下第一顆原子彈而開始。但這樣的時代自從1945年後卻從未離開我們, 對於原子能源的矛盾與危機依舊四面環伺, 彷彿兩篇報導的事件如同昨日記憶般歷歷在目, 盡管大多數人都未曾經歷過那個年代。


最後, 指針暫時停留的時刻, 是第一顆原子彈在廣島上空爆炸的時間。


2013, Taipei

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