展覽介紹

自2018年創辦以來，「Photo GO 攝影上桌」已成為台灣年輕攝影創作者的重要平台，成功舉辦六屆，展現出攝影與文化的深刻連結。以 45 歲以下年輕攝影師為核心，該活動透過公開徵件，挖掘最具創意與實驗精神的作品，並以獨特的「辦桌」形式展示，為台灣藝術界帶來耳目一新的視覺體驗與文化碰撞。這種形式突破了傳統攝影展的框架，將圓桌作為藝術家的創作場域，使影像透過多媒材與立體裝置進行多元化的呈現，讓攝影作品跳脫牆面展示的侷限。同時，觀眾從被動的旁觀者轉化為主動的參與者，成為影像敘事的一部分，進而透過攝影家、策展人與觀眾之間的互動，激發創作者更多靈感，建構出充滿張力的藝術對話。這一特色不僅成為活動的核心價值，更奠定了其在台灣藝術生態中的獨特地位。

下班返家的這段路，是唯一能越過時間、逃脫平常自我的奇異空間。

夕陽下墜，光線滑落。
我追逐著那將盡之光，慢慢讓那如常的規律，在風景裡鬆開。
內心無法傾訴的黑暗之處，只會在這短暫的過渡裡，微微溢出。

規律上班、規律下班；
規律休假、規律生活。
當我看著這些之間的風景，
想起了我自己，也想起規律的存在。

This road home after work is the only uncanny space where I can slip past time and step out from my everyday self.
The sun drops, the light slides away.
I chase what little remains, and, little by little, I let the familiar discipline of routine loosen inside the landscape.
The dark part of me I can’t put into words only ever seeps out, just slightly, within this brief transition.

Routine to work, routine to leave;
routine to rest, routine to live.
As I look at the scenery suspended between these repetitions,
I think of myself, and I’m reminded that routine exists as a counterweight that holds everything in balance.

黃靖凱是一位「下班型」創作者，現職為機械研發工程師，業餘從事視覺藝術創作已逾十年。依靠上班族的收入與房間裡的一面牆持續進行創作與研究。主要活動於台中海線地區，其作品聚焦於市郊之間曖昧不明的氣息，以及夜間閃光燈下高亮、迷幻的色彩。在創作過程中，他亦專注於探索影像之間的節奏與音樂性，嘗試以工程邏輯穿梭於感性與理性之間的邊界，並進一步思考，作為一位上班族，在「下班」與創作者身份中的「上班」之間，如何切換、拉扯與釋放。

Ching-Kai Huang is an “after-hours” artist—by day a mechanical R&D engineer, and for more than a decade, an independent visual practitioner outside of work. Sustained by a salaried routine and a single wall in his room, he continues to make, test, and research: a practice built within the means and limits of everyday life.

Based primarily along Taichung’s coastal corridor, his work dwells in the city’s outer edges—those in-between zones where suburb and countryside blur into an unresolved atmosphere. At night, under flash, these scenes flare into high-key, hallucinatory color: bright, glossy, and slightly unreal.

Within the making process, Huang is equally attentive to rhythm—to the musicality that emerges between images. He works with an engineer’s logic as a method for moving across the border between intuition and analysis, pushing that boundary until it becomes productive. From there, the question expands: as a salaried worker, how does one shift between “clocking out” and the artist’s own kind of “clocking in”—and within that switching, what gets held back, what gets pulled taut, and what finally releases.