被凝視的風景 / The Landscape Gazed-Upon
● 展覽介紹 Exhibition Statement：
「風景」常被視為是某一地理座標的位置或特定場域的指涉，是因為人們通常認為風景是客觀的存在，與特定的地理環境和場域有關。或者，常被歸類於地誌學的領域，表述特定的地貌、地理環境等地理特徵的研究範疇，成為指涉特定區域或場域的詞彙。
然而，每一處自然環境的場域，都是人與自然、人與環境、人與社會之間因果的相互關係的複合體。每一風景之所以特殊且不同，是因為該場域作為它靜默生存的能量，所形塑展現自身的面貌與差異性，彼此互為主體，構成自身的人文景觀。
對於「風景攝影」的觀點與認知，如何將「風景」視為客觀存在的條件，進而探索「風景」作為創作的主體性，藉由《被凝視的風景》的創作思路，透過超越感官的體驗、穿越時空的限制與交織，透過身體介入空間和自然環境。
“Landscapes” are often perceived as references to specific geographic coordinates or particular locations. This understanding stems from the common belief that landscapes are objective entities associated with distinct topographic environments and areas. Alternatively, landscapes are frequently categorized within the field of geography, expressing the study of specific landforms, geographical environments, and other geographic features, becoming terms referring to particular regions or areas.
However, every natural setting involves an intricate interplay of profound connections between humans, nature, the environment, and society. The distinctive qualities of each landscape emerge from the environment's latent energy coexisting in silence, molding its own features and distinctions. Within this dynamic interaction, landscapes and humans reciprocally shape each other, contributing to the creation of the cultural landscape.
Regarding the views and understanding of "landscape photography", how to regard "landscape" as an objective condition of existence. It examines “landscapes” as subjects for creative expression, utilizing the conceptual framework of “The Landscape Gazed-Upon.” By surpassing sensory experiences and navigating the constraints and interweaving of time and space, the article explores a discourse and interpretation of space and natural environments through physical engagement. Ultimately, it endeavors to scrutinize the conceptual dimensions and spirituality inherent in contemporary “landscape photography” within the realm of artistic creation.
