23℃ 的 HARBOUR

中西信洋 Nobuhiro Nakanishi

Layer Drawings - Cloud/Fog ink-jet print on film, 100×100cm (100sheets) 2005

朱锋 Zhu Feng 

鏡子 Mirror 2008

The series of images is a study of light. By scanning the mirror, various colors come from the slightly different angles between the mirror and the scanner. However, mirror in Chinese Chan School of Buddhism has always been referred as pure heart,Buddhist heart,the Sixth Patriarchs of the Chan school Buddhism said, "by nature there is no Bodhi-tree; nor case of bright mirror; Since intrinsically it is void; Where can the dust fall on?" Although I displayed elegant colors reflected in the mirror through scanner, in fact, there is still nothing in it.

是關於光本身的照片。是用掃描儀直接掃描鏡子實物，通過變換鏡子和掃描儀的角度，獲得不同的反光，得到不同色彩的影像。但究其本質，鏡子裡空無一物。

吳季璁 Wu Chi-Tsung  

灰塵 Dust 

Installation Video camera, projector, tripod Dimensions variable 2006 

In front of the Screen, the Camera Points in the direction of the light of the projector. Its focus is on the center of the space, sending video signal of the projector. Thus a live circulation of light and electronic signals is established. A tripod in front of the projector blocks the light projected into the camera. At the appropriate position and the right angle, you can see the dust in the space reflecting the projector’s light. On the screen it wavers and glimmers just like the moment before sunrise when everything in the air can be clearly seen. As viewers walk around in the space and disrupt air current, the image of flickering dust changes rapidly and constantly. Through the medium of video, we can rediscover and pay attention to the world around us in life.

螢幕前方的攝影機，正對投影機鏡頭的光源,對焦在空間中央,拍攝的訊號傳回投影機中，形成一個光線和電子訊號的現場即時循環。 投影機前一腳架遮斷射入攝影機的光線，在一個適當的位置和角度，空間中的灰塵粒子會反射投影機的光線，在畫面上飛舞閃爍，就像日出前的剎那，空中的一切清晰可見；隨著觀眾的進入走動，帶動氣流的變化，瞬息萬變。 透過影像媒體，重新發現和觀注生活週遭的外在世界。

Wu Chi-Tsung  吳季璁

Perspective Video 001 錄影001  2008

The central locus of my creative work has always been a discussion as to the real nature of images; how they are produced, perceived by viewers and the impact they have. However, the way in which this is executed has never been particularly disciplined or scientific, resembling something more akin to a game. Sometimes I experiment with just one part, or exchange some of the elements to see what changes that causes in the creation of images and whether there is anything of interest hidden inside.

A great deal of the depth of illusion created by pictures or images comes from the single point of perspective. In other words, all straight lines not parallel to the picture disappear into some point in the distance, almost as though space is being sucked into a bottomless hole. It was this view point that made me wonder what the viewable world would be like if there was no point of disappearance.

I guess it would be really flat.

我的創作主軸，一直以來環繞著影像的本質探討，影像如何被生產、如何被觀者感知及產生作用等；不過它的進行方式不太嚴謹、科學，比較像是個靈機一動的遊戲，有時只挑出某個部份來實驗，或置換某個元素、環節，看看影像的生產運作，會產生怎麼樣的變化，有沒有什麼好玩的東西躲藏其中。

圖像、影像的深度幻覺，有一大部分來自於單點透視的效果，也就是所有不與畫面平行的直線都交會在無限遠的消失點，像是空間被吸進一個無止境的深洞。於是我有個想法，如果沒有消失點，我們所見的世界會變成什麼樣子。

我猜應該會­很扁。

小林健太 Kenta Cobayashi 

(No information of these photos at the moment)

Chris Wood

Light Shower

張照堂 Chang Chao-Tang 

新莊 Sinchung  1964

David Hockney

Portrait of an Artist (Pool with Two Figures) Acrylic on canvas 1971

周慶輝 Chou Ching-hui 

人的莊園 Animal Farm 

Animal Farm No. 1 2014

Animal Farm No. 2 2014

Animal Farm No. 3 2014

Animal Farm No. 4 2014 

Animal Farm No. 6 2014

Animal Farm No. 8 2014

蒋志 Jiang Zhi 

屉中物 Object in Drawer  1997

“Object in drawer” was made in 1997.  Pieces of personal belongings and damaged human body parts were installed together in three opened drawers. Life is a course of losing. Time rushes away memories, cutting bodies apart. The pain of losing time projects itself on objects. Memories attach on personal belongings, giving them individual lives and feelings.

零星的私人物品和受損的肢體部分並置在拉開的抽屜內。生命就是一個不斷損失的過程。時間沖刷記憶，切割身體。這種時間流逝所帶來的痛楚感，也同樣體現在物品上面。回憶附著在私人物品上，賦予它們獨立的生命和感覺。

Francesca Tamse 

Making Waves Dye-Sublimation process on Silk Satin 2016

蔡東東 Cai Dongdong

射擊練習  Shooting Practice   Archival inkjet print, mirror 2015

The work Shooting Practice is comprised by a black and white photograph and a mirror; the image is reversed left-to-right in the reflection in the mirror, which creates the optimal illusion of the viewer shooting themselves with a gun. The artist uses the act of shooting as a metaphor for the photographic act and its inherent violence, while the reflection in the mirror reveals another dimension where photography is separated from reality. 

作品《射擊練習》由一張黑白照片和一面鏡子組成，鏡子的反映倒轉了照片影像的左右方向，造成了相中人對著自己開槍的錯覺。藝術家以開槍借喻攝影的行為及固中的暴力，而鏡中的反映則呈現攝影被隔絕於真實的另一維度。

Ayesha Saeed

The Psychogeography of the The Right Thumb 2016

" This series is about examining and interpreting one single image; [...] It’s showing you a privileged view of being in the photograph/scan/ bio-metric image (whatever you may call it) that represents me in many digital systems around the world. "

“ It makes you think about the identity, the authority, the surveillance , the consent and the digital image. [...] Initially the photographs that were created through the objective and logical approach towards the process of understanding that thumb print, ended up as a very personal journey once realised that it is disclosing itself. [...] It is a psychogeography of a personal data set. The exposing and encrypting aspects are equally important of myself, within myself. "

Images from series The Code of the Pathways ( The Right Thumb)

Privileged Landscape (One side of The Right Thumb)

The Spatiality Underneath (The Right Thumb Ridges)

Navigate… (The Right Thumb Ridges)

Detail – The Code of the Pathways ( The Right Thumb)

Detail – Privileged Landscape (One side of The Right Thumb)

Three installation shots of this work

DETAIL: https://ayeshasaeed.com/series/the-psychogeography-of-the-right-thumb/

陳以軒 I–Hsuen Chen

遍尋無處 Nowhere in Taiwan 2011

Nowhere in Taiwan is a selection of photographs made while traveling through my native country of Taiwan in the summer of 2011. Influenced by the idea of the “road trip” in American photography, exemplified in the work of such photographers as Robert Frank, Stephen Shore, and Joel Sternfeld, I set out to find scenes and situations that seem to be “in between,” neither landscape nor cityscape but existing in an ambiguous space I call “nowhere.” Some of these sites are suburban, or partly urbanized, or abandoned and left behind. The aspect of location that interests me most has to do with the traces of human presence and gesture that reside or remain. In search of nowhere, I look for unexpected instances of intimacy, so that there is a sense of “nowhere” being unveiled.

2010年，陳以軒出國了，在紐約正式成為異鄉人。一年後回來探親時卻發現已無所適從、四處孤立，經歷了反向的文化衝擊。於是像公路電影中的主角般，為了尋找自我而上路拍照，仿製美國公路攝影的傳統，進行台灣版的、個人式的公路攝影之旅。 在路上不斷看到景物更替，從城市到鄉鎮，逐漸失去時間與空間感，遺世獨立於過去和未來的歷史脈絡；主體意識愈發清晰存在，但認同與歸屬感卻四處漂流。行旅的當下，他漸漸開始紀錄各種在中間的「無處」場景，一些既不是風景也不是城市景觀的曖昧交界，有的未都市化，有的更像是被遺棄。記錄的同時，也不自覺反身鏡像記錄了各種孤立疏離的自身狀態。

Willem de Kooning 

Villa Borghese Oil on canvas 1960

Daniel Gordon

Still Lifes, Portraits & Parts, Wallspace, New York 2010 - 2011

Images from series Nectarines in Orange and Blue 2011

Portrait in Red, Green and Blue 2011

Pineapple and Shadow 2011

Lilies and Clemetines 2011

Red Eyed Woman 2011

Pae White

Too much night, again Installation, mixed media 2013