In all things we must never overlook the necessity of “faith,” but when I consider what it is that concerns me most, it is suddenly difficult to put into clear concise words. As opposed to great things I prefer to select things that on the surface appear much lighter. When compared to great men (or things such as art), people and things that appear more lightweight are arranged (somewhat fatalistic in nature), preferring where they are or continuing onwards in the same way.
In today’s world of advance technology and ever-improving digital imaging technology, everyone seems to own the world depicted the image. However, as we view these delicate images, how do we see the world from a different perspective? In many instances, our perspectives would result in the differing ways in which we perceive things. This is evident in the fact that at first, we could only see the sun setting on Earth, but overtime, the progress made in physics has led us to realize that this was due to the Earth’s rotation. However, there is no such thing as right and wrong in this case; rather, it depends solely on where you stand. I must note that it is not my intention to break through the limit of visual arts through the physicality and quality of recording as a medium. In fact, I regard my works as another pair of my eyes that I use to “record” things of my concern. I would rather treat these recordings as the subjects “being seen,” rather than something to “look at.” It is through this relationship of “looking at” and “being seen” that I construct the world through images.
The full text consists of four chapters. The first part concerns the personal experience of viewing the surrounding world. Changing from a viewer to a filmer, I would like to discover what kind of consciousness behind this “transformation.” Moreover, to discuss the images derived from what I viewed, which is the world of my viewing world as well. The second chapter deals with the transformation of filming and photo retouching. Likewise, basing on the context of my previous image works, narrating how the image world could transit to be another visual perspective. Chapter three is mainly clarifying the dimension and content of image world through the objects I filmed. As to the final chapter, taking my brand new work series “Shadowless” as a case study to review self-transformation within my recent artworks. In the conclusion, through a way of “future” timeline, I attempt to find out the significance of personal image position and the possibility, particularly in the environment with ubiquitous images. Meanwhile, the process could be regarded as a start point of reflection and response to my creations.