In recent years, I have passed by some scenic landscapes occasionally and stopped to capture them with my phone camera. The body that bears the photographic eye needs to come to a state of stillness here, and perhaps to train the focus of the naked eye onto the scene before it is to freeze the frame entirely. Even so, some landscapes remain fluid: in fact, some of them are still but fluid, moving but silent. When I recall these images I had recorded in passing, I seem to remember only one or two moments from the entire scene. A select few moments become so quiet, so slow-moving – almost like a photograph. At the same time, the split-second of recognition manages to carry a much longer expanse of time and, in tandem, an infinitely scalable series of landscapes. The simultaneity of fluidity and stillness is the body of memory. Even as its entirety seems set in stone, some of the minute details are inevitably lost to forgetting.
這幾年偶爾經過一些風景，停下來用手機拍下，那時候拿着 工具拍攝的身驅需要靜止一些，而眼前的風景流動着，同時也許因為專注凝視而靜默放慢得近乎靜止。一些風景很靜止，同時在流動着。一些風景在流動，同時如此靜默。當回想這些經過的風景時，我似乎只能比較清晰記得當中一兩刻的畫面。 這一兩刻風景的畫面靜止得近乎一幅相片，但這一兩刻的畫面同時像是容器般盛載了更長時間的風景，甚至更多的風景，而這些腦內近乎靜止的風景本來似乎是流動的。靜默與流動同時存在於同一刻，那些風景直至現在都記住了，近乎永恆沒有離去，但記得的細節也許免不了會流逝。
Review | ‘Noble Rot’ art show at Para Site in Hong Kong explores themes of decay and transformation : https://www.scmp.com/lifestyle/arts-culture/article/3159154/noble-rot-art-show-para-site-hong-kong-explores-themes-decay
鹽糖之後，時代鹹酸 | Salt and Sugar, A Generation of Salty and Sour written by 羅玉梅http://aicahk.org/chi/young.asp?id=962
Commissioned by Para Site
受 Para Site 藝術空間委託