For me, taking pictures is like producing contemporary lo-deh sao performances. In contrast to the traditional lo-deh sao of Taiwan’s agrarian era, the contemporary version is performed in gaps found in both urban and non-urban landscapes. The spaces become temporary venues where emotional states are shared through the performance of developing impressions, such as life circumstances and unorthodox imaginings.
When creating still photographic images, I choose the deep focus technique to capture, to the greatest extent possible, the details of performers and the temporary performance venue. Photographing these details transforms every temporal performance and venue into sites of alternative social imaginary and spiritual reconstruction. It also renders the audience’s viewing behavior as a journey through various subtle realms.
Based on the unique character of each set of photographs, I place them into the following categories: Disorientation, Reverberations, and Being Worn Away or Wearing Away; Construction Pits and Houses Without People; Using Imagination and the Construction of Scenery to Eliminate Perception Control Techniques; Using Stillness and Silence to Make a Statement in Areas Restricted Under Law; and Reworking Foggy Images.
