塑膠皮膜 | Plastic Skin

自述

Description

在自我認知的過程中，漸漸物化的身體，成為一種顯性的存在證據時，附著物(精神）似乎從主體中脫離，這是一種我期望能達到的一個狀態，一種從一個旁觀的角色，等待，觀看自己，因為從那些無法自拔的慾望到自我的放棄，希望能從中得到救贖，從而投射出一種意象化的物件，塑膠袋。

在我的觀察經驗中，那些被放棄或被遺落的物件被裝在垃圾袋中置放在路邊或集中處，都勢必伴隨著一趟從破壞到消失的過程，當一個物件從創造到消失其實我們都是有意識的，而在這邊塑膠袋我也欲指為人類的皮膜，更進一步作為自我對於生命的一種反思。

在此次作品中引用柏拉圖在《會飲篇》所提及的寓言故事為一開端發想，從一半到雙畫面的表現

在我的生命經驗中，那些我所依戀的東西被拋棄在裝載它們的塑膠袋，是令我有很深的感觸，而塑膠袋也就因此對我來說是個同時承載與剝離的記憶的符號。

影片中放棄對話的描述，對於人與人的溝通提出質疑，保留原本空間與物體本身的樣貌，試圖對於真實提出舉證，在以直接的方式加入非自然物件在場景中，也透過雙螢幕辯證自我的相對性與時間的不可逆，形成似真似假的影像符碼，以此實現自我對於現實與虛幻的矛盾性。

透過影像的重組，將自我投射於影片中。但非自身參與的方式藉由暗示將自我的觀點滲入演員的演出，對於生命的矛盾面以一個旁觀者的角度加以闡述

In the process of self-recognition, the body that is reified, becomes a kind of prominent evidence of existence, and the attached (spirit) seems to fall off from the subjectivity.

This is a state at which I hope to arrive, one that is playing a role of observer, waiting and glazing at oneself. From an irretrievable desire to self-abandonment, it is hoped that salvation is obtained, and project from it a symbolic object, plastic bag.

In my observation experience, those abandoned or left objects which are set at the roadside or in disposal centers, put in plastic bags, are bound to undergo a process of destruction and disappearance. We are aware of this process from creation to disappearance. I like to denote plastic bag as human skin, a further step of the self-reflection of life.

I make use of the myth in Plato's "Symposium " as initial imagination, to express from half to double screen.

In my life experience, what impresses me deeply are that which I am obsessed with but are disposed in plastic bags. Plastic bags have therefore become to me symbols of bearing and stripped memories.

The film has abandoned descriptions through dialogue and questioned inter-personal communication. It retains the the original space and appearances of the objects, and tries to illustrate reality.

By introducing into the scene unnatural objects by violent means, and by using double screen to dialectically illustrate the relativity of self and the irreversibility of time, it actualizes the contradiction between real and illusive natures of the self.

By the reorganization of the images, the self is projected onto the film. However, the form of non self-participation is insinuated through diffusion of personal view into the performance of the actor. The contradictions of life is further explicated through the angle of an observer.

Tribute to René François Ghislain Magritte