Goodbye, See You Again, Victoria East/ 再見維多利亞之東


2017,彩色 , 高清錄像 ,雙聲道 ,15’50″ , 玻璃投影 | color, HD loop video, stereo, 15分50秒, video projection on glass  



我在不同的時間,於將軍澳(Junk Bay)不同的位置,將防水照相機放置於五至十米深的水底收集(sampling )水的影像;以水的流動、光線、穿透度和顏色等元素去編輯 。


Reshaping the disappeared sea. 

I placed a waterproof camera at a depth of five to ten meters to collect (sample) images of water during different times of the day and at different locations in Junk Bay. The flow of the water, light rays, clarity, and color are elements used to edit the video. 

This video has no narrative, it is a reshaping of the experience of the sea.

(installation view @ Taipei Digital Art Center)

(film still)



2021,彩色 ,高清錄像 ,雙聲道 ,9分16秒 ; 玻璃投影 | color, HD loop video, stereo, 9’16″; video projection on glass 



Three hammers.

This piece of tempered glass is the transparent screen for the underwater projection video in the “Victoria East” exhibition. It is also the last object I removed from my studio in Fu Tak Building, Wan Chai in 2021. As a farewell, I recorded the process of breaking the glass. After two hours, three hammers, two of which broke, and the glass finally shattered. Shiny glass shards scattered all over the floor, like enlarged grains of sea salt.

(installation view @ Taipei Digital Art Center)

(film still)



2021, 4K雙頻同步錄像,彩色,雙聲道 ,36分52秒 | 2-channel 4k video, color, stereo |36’52



很多年前跟香港藝術家麥海珊(MAK Anson)對話時,她提到我十年前的作品《殘話小説》的定鏡加長鏡頭很像早期電影的拍攝方法-在製片廠(盒子)裡進行場面調度。這說法一直影響我很深。2021年好幾件作品,我都以綠幕作為演練場,期待未來必定要進行一次「電影現場」(improvised cinema)的即時演出。 

在《再見維多利亞之東》的盒子裡,新舊作品:錄像丶刻有海岸線的雕塑丶LED 光管上對照百年前後山的輪廓的幻燈片丶青天白日紅旗飄揚的調景嶺檔案圖片丶模擬墮樓現場的錐形路標和危險警告膠帶丶模擬浮屍與海上落難的人偶道具⋯⋯像交接儀式地先後出現。


Box of a box. 

In a conversation with Hong Kong artist MAK Anson many years ago, she mentioned that the fixed-length and extended shots of my work Disabled Novel created ten years ago was very similar to the shooting methods of early movies where scene arrangement was made in the studio (box). This idea has always affected me deeply. In several works throughout 2021, I used the green screen as a rehearsal area, and I look forward to a real-time performance with “improvised cinema” in the future.

In the box of See You Again, Victoria East, old and new works there are: video; sculptures depicting coastline; LED light tube set against projector slides featuring silhouettes of mountains from a hundred years ago; archive photo of Tiu Keng Leng flying the Blue Sky, White Sun, and a Wholly Red Earth Flag; the traffic cones and danger warning tapes that suggests the scene of the fall; dolls and props that suggest floating corpses and tragedy at sea… these appeared one after another like a succession.

At the end of the second half, I squeezed the new work into the box, sealed the box, and sent the box to the exhibition space in Taiwan. I invited Jason Lee, a friend and performance artist from Singapore to open the box and respond physically with his body, or he is also free to explore new patterns, possibilities and, faults.

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