邊界 The Boundary
2021-2022
這個系列是我對家鄉高雄仁武被媒體污名化的反思。我家位於仁武大社工業園區前，是台灣歷史最悠久、污染最嚴重的工業園區之一。這件作品想邀請人們拋開以往對高雄石化產業的偏見，思考我們如何在自然環境中與這些工業資本主義龐然大物共存。
首先，「邊界」指出了我所拍攝的人造物與自然景觀的邊緣地帶，兩者構成空間中的矛盾關係。我運用大畫幅相機拍攝以校正變形，使建築物不自然的直線與周圍的自然環境形成強烈的反差。其次，我試圖讓工廠在自然環境中的存在更為安靜中性，這顛覆了在媒體上常見到煙囪冒出黑煙等肉眼可見的污染影像，使觀賞者更能凝視存在空間中的環境議題。最後，我以拍攝肖像般的靜態角度捕捉與自然相接的石化工廠，模糊了紀實攝影與抒情表現的界線。
首先，「邊界」指出了我所拍攝的人造物與自然景觀的邊緣地帶，兩者構成空間中的矛盾關係。我運用大畫幅相機拍攝以校正變形，使建築物不自然的直線與周圍的自然環境形成強烈的反差。其次，我試圖讓工廠在自然環境中的存在更為安靜中性，這顛覆了在媒體上常見到煙囪冒出黑煙等肉眼可見的污染影像，使觀賞者更能凝視存在空間中的環境議題。最後，我以拍攝肖像般的靜態角度捕捉與自然相接的石化工廠，模糊了紀實攝影與抒情表現的界線。
This series is my reflection on the stigmatization of my hometown, Renwu, which is located in the southern Taiwanese municipality of Kaohsiung. My family home is located right in front of Renwu-Dashe Industrial Park, one of the most historical and heavily polluted industrial parks in Taiwan. These photographs invite people to put aside their previous biases and ponder anew how we might coexist with these behemoths of industrial capitalism that rise up amid natural environments.
I chose to use the term “boundary” because it alludes to the borders and edges separating manmade objects and natural landscapes in my photographs—these boundaries take form as contradictory spatial relationships. For this project, I used a large-format camera to calibrate the perspective, so that the unnatural straight lines of the buildings would contrast sharply with their natural surroundings.
Additionally, I tried to make the presence of the factory in the natural environment seem more peaceful and neutral than it otherwise might have, in order to subvert the images of pollution such as black smoke billowing from smokestacks that are commonly reproduced by the media. This approach allows the viewer to maintain quietude while gazing upon the environmental issues that exist in Renwu. Finally, I captured the petrochemical plant and its natural environs using a still perspective that evokes portrait photography, so as to blur the line between documentary and aesthetic photography.
I chose to use the term “boundary” because it alludes to the borders and edges separating manmade objects and natural landscapes in my photographs—these boundaries take form as contradictory spatial relationships. For this project, I used a large-format camera to calibrate the perspective, so that the unnatural straight lines of the buildings would contrast sharply with their natural surroundings.
Additionally, I tried to make the presence of the factory in the natural environment seem more peaceful and neutral than it otherwise might have, in order to subvert the images of pollution such as black smoke billowing from smokestacks that are commonly reproduced by the media. This approach allows the viewer to maintain quietude while gazing upon the environmental issues that exist in Renwu. Finally, I captured the petrochemical plant and its natural environs using a still perspective that evokes portrait photography, so as to blur the line between documentary and aesthetic photography.