Artist statement
The era I born in makes me so obsessed with sceptres, those appearing in Harry Potter. Those unique natural branches with a light-end, that can summons and throw out lumen dot. However, I came across to angling in my youth that light luring method has been arising. As my start-of background of fishing in Asia ancient method makes me felt unfamiliar to the warmless temperature to the cold metallic fishing rod made with mixed carbon.
The posturing of fishing rod throwing gives me a roleplaying of Harry Potter, able to summon creatures from the bottom of the sea. By years, I started having an interest in making works that appear as bar form, kind of a self wand-making supply.
Every time when I fishing, standing on the exact surface of the horizon, I witness the shine changes above the sea, and how they affect the whole situation. The Sun movement is gently swiping as a parabola coherence and echo to the throwing. Sunlight changes and parabola became the essential elements/ baits in my "fishing as photography" style.
Amateur Asian ancient angling method cultural background of mine came across to Western’s tech-material-led/ merchandised fishing gives me the origin to oversee the "superfluous colour" hidden in the tackles. The theology of immaterialism aesthetics on fishing tackle package for me is hooking on to the fishing event. I am interested in the hook and buoyancy in the latent exchange relation. The man-made beautiful floats and baits into the ocean swapping for human's aqua tank’s oceanic condition. I am using the relationships between purposeful and non-purposeful artificial colour in fishing materials and their tensions between in-controls and uncontrollable flexibility function-effects to intervene or "fish" nature arbitrary aesthetics through transforming them into systematic machinery. Trying to develop type of a photography through fishing.
A principle of mine is every time the placement and documentation of my work will be on a different beach. Mostly my work glows in the perfect gap timing of tides and shines time. Every individual fishing experience from waiting and art doucmenting also involved a new appreciation of nature landscape and bridging the novelty curiosity of a manifestation from the unseen world — dark sea. I do fishing during the waiting for perfect moment for documenting work. The art in fishing and the association with conjuring, in the linkage of mysteriousism, conjecture and stochasticity are inhabiting my practice, therefore, fishing wire seems subconsciously a representational element in my work.
Fishing wire for me works as a sublime tool to foresee the aesthetic of the unseen. Technicalizion of art and extension elastic of light brings an issue to me against the sacredness from modern artist, fisherman, magician and craftsman.
藝術家聲明
我出生的那個時代讓我沉迷於那些出現在哈利波特中的魔杖，那些可以召喚並拋出光點獨特的天然樹枝。然而，在我年輕的時候開始出現用光的釣魚引誘方法。我在亞洲捕魚的手絲背景，古老的方法讓我感覺不熟悉用混合碳製成的冷金屬釣魚竿的溫暖溫度。釣魚竿投擲的姿勢讓我扮演哈利波特的角色，能夠利用光從海底召喚生物。多年來，我開始有興趣製作看似條形的作品，好像一種自製魔杖供應。
每當我釣魚，站在地平線的確切表面上時，我都會看到海面上的光芒變化，以及它們如何影響整個事況。太陽運動輕輕地作為拋物線的連貫性滑動，並與投擲相呼應。在我的“釣魚作為攝影”風格中，陽光的變化和拋物線成為必不可少的元素/誘餌。
我的業餘亞洲舊式垂釣方法的背景遇到了西方的技術材料主導/商品化捕魚，這使我有了留意隱藏在漁具中的“多餘顏色”的起源。對我而言，漁具包裝上的非物質主義美學神學正在與捕魚活動掛鉤。我對鉤子和浮力中潛在的交換關係感興趣。人造美麗的漂浮物和誘餌進入海洋交換人類的水族箱的海洋狀況。我利用漁具中有目的和無目的的人工色彩之間的關係，以及它們之間的控制之間的緊張關係和無法控制的靈活性功能 - 通過將它們轉化為系統機制來干預或“捕捉”自然任意美學。試圖通過釣魚開發一種攝影類型。
我的一個原則是每次我的作品的放置和記錄將在不同的海灘上。大多數情況下，我的作品在潮汐的完美間隙時間內發光，並照亮時間。從等待和藝術分揀中獲得的每一次釣魚體驗也都包含了對自然景觀的全新欣賞，並彌合了看不見的世界 - 黑暗海洋的表現形式的新奇好奇心。我並會在等待記錄工作的完美時刻中釣魚。在神秘主義，猜想和隨機性的聯繫中，釣魚的藝術和與魔法的聯繫正在我的實踐中存在，因此，釣魚線在潛意識中似乎是我作品中的一個代表性元素。
釣魚線對我來說是一個崇高的工具，透過它預見看不見的美學。藝術上的技術和光的延伸彈性給我帶來了一個問題，反對現代藝術家，漁夫，魔術師和工匠的神聖性。