得獎作品

擁抱死亡，凝視生命｜林毓如

一個人如何看待生死，深深影響一個人怎麼活。
死亡是人生必經過程，唯有面對，我們才能學會好好活著，佇立在死亡面前，找出生命的意義；透過年長者帶著自己的遺像，用最溫柔且輕鬆的方式接納死亡，同時也闡述著生命的重量。

How one views death will deeply influence how on e lives their life. Death is an inevitable part of life and only by facing it can we learn how to live. In the face of death, we have to find the meaning of life. The elderly carry their own portraits and accept death in the most gentle and peaceful way, and at the same time it also elucidates the weight of life.

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：(1)-(5) 台北市 Taipei

國家公僕｜黃沛森

在車水馬龍的馬路上，顯眼的選舉看板隨處可見，每個光鮮亮麗的看板下都有一張微笑的臉，對著路上席來人往的民眾微笑，希望得到選民的青睞，微笑背後是真實或虛假？最終當選者還是國家的公僕，需要為人民服務。

Along the busy roads, conspicuous election billboards can be seen everywhere. There is a smiling face under every glamorous billboard smiling at people passing by and hoping to win the favor of the voters. Is the smile genuine or fake? Those who are elected are still the public servants of the country to serve the people.

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：(1)-(5) 台中 Taichung

像神像｜許尊凱

神像，某種程度上是一種人的意念、慾望、希冀的體現形式。
台灣歷經時代更迭，林立的巨型神像盤根錯節融入人文地景，成為魔幻現實、令人亦敬亦畏的獨特台灣風景。

To some extent, god statues are the embodiment of people’s ideas, desires, and hopes. Over time, the huge god statues in Taiwan intertwined and integrated into the cultural landscape become a unique Taiwanese landscape that is magically realistic and awe-inspiring.

■ 拍攝年份 Year：2021
■ 拍攝地點 Location：台中 Taichung、高雄Kaohsiung、新北New Taipei、嘉義Chiayi、屏東Pingtung

思念的距離｜陳文欽

思念是人世間最美的感情表現，因為思念，我們對於無法見面的親人有更多懷想，更能拉近我們的距離。對於死亡的人生課題，是一種智慧也是一種考驗。
經驗教人成熟，死亡讓人成長。應當盡力把握每一個當下，珍惜身邊的每一個人與每一段過程。

Missing someone is the most beautiful sentiment in the world. The feeling of missing someone makes us more nostalgic for the family we can’t meet and draws us closer. The life issue of death is both a wisdom and a test. Experience teaches people to mature; death makes people grow up. We should seize every moment and cherish everyone by our side as well as the time we spend together.

■ 拍攝年份 Year：2021-2022
■ 拍攝地點 Location：台灣北部 Northern Taiwan

探墓厝的迷茫｜陳志強

春節走春討吉利，但在台南安平過年時有全家上墳探墓厝的習俗，平時生人勿近的湯匙仔山墓仔埔反而熱鬧異常。探墓厝如清明掃墓，要先打掃祖先墳墓、擺上供品、掛紙、燒金紙祭拜，但冬季天乾物燥，燒金紙的過程常不慎造成野火蔓延，即使在迷濛煙霧中仍有人專心掃墓不為所動，如蒙太奇效果般不太真實的虛幻場景，更為探墓厝增添的追思的靈氣。

Most people will give New Year’s greetings during the Spring Festival, but the families in Anping, Tainan, have the custom to visit the graveyard during Chinese New Year. Tang Chih Hill Anping Cemetery is a place where people usually avoid, but it looks livelier than ever. Visiting the graveyard feels like Tomb Sweeping Day. People have to clean their ancestors’ tombs, prepare offerings, place paper, and burn joss paper. However, the weather is dry in winter. Burning joss paper can inadvertently cause a wildfire. Even in the misty smog, there are still people concentrating on the ritual and remain unmoved. The unrealistic montage-like scene even adds a memorial aura to the graveyard visit.

■ 拍攝年份 Year：2020-2022
■ 拍攝地點 Location：台南市 Tainan City

差一點｜吳靜唯

人生參雜著喜怒哀樂，差一點未竟完美卻可能剛好。
當經歷了許多的挫折與失望，更懂得一點回甘。
差一點，讓人更惜福。
差一點，讓人更富有。
差一點，讓人更幸福。
差一點不完美，其實成就了完美。

Life is a mixture of joy and sorrow, and pain and pleasure. Being almost perfect may be just right.
After experiencing many setbacks and disappointments, people can better appreciate the sweetness.
Almost makes people cherish what they own.
Almost makes people wealthier.
Almost makes people happier.
Almost perfect actually helps achieve perfection.

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：彰化Changhua、新北New Taipei、宜蘭Yilan、台中Taichung、苗栗Miaoli

Area 19｜林儷芳

在美國內華達州南部林肯縣的沙漠中有一個神祕的封鎖區域，大家都稱它「Aera 51」(51區)，許多人相信它與眾多的不明飛行物體與外星人有關而聞名。
COVID-19像是一種外星病毒，「檢疫與隔離」將人群分成無數的封鎖空間，我稱它是「Aera 19」，疫情改變了人與社會的關係，改變原有的生活模式，厚重的壓力壟罩在所有人的心頭，每個鎖在自己「19區」的人，都需要對自己生活的各層面進行再適應。

There is a mysterious lockdown area in the desert of Lincoln County in southern Nevada called “Area 51.” Many people believe it is famous for it’s connection with UFOs and aliens.
Covid-19 is like an alien virus. “Quarantine and isolation” have divided people into numerous lockdown spaces that I have named “Area 19.”. The pandemic has changed the relationship between people and society as well as the life we all once lived. Everyone is feeling the heavy pressure. Those who are under lockdown in their “Area 19” have to readjust every aspect of their life.

■ 拍攝年份 Year：2021
■ 拍攝地點 Location：台北Taipei

風景與偽風景｜許春貴

地球擁有壯麗山川、物產豐饒，然而工業與科技帶來豐富進步與便利生活的同時，卻也製造出更多的工業廢棄物，堆疊出一山還比一山高、見山非山的偽風景。


The earth has magnificent landscapes and rich resources. However, while industry and technology bring great progress and conveniences to our lives, they also produce an abundance of industrial waste piled up like tall mountains that become a pseudo-landscape.

■ 拍攝年份 Year：2018-2022
■ 拍攝地點 Location：(1)高雄Kaohsiung / 嘉義Chiayi、(2)-(5)德國Germany / 嘉義Chiayi

晚安，我的王國｜龍玉蘭

在山巒之巔俯視城市全貌，早安，我的王國。
建築體節比鱗次綿綿密密，像似嬰孩挨著母親般相互依偎。此時遠方教堂
的鐘聲晨喚著，眾數的圓形煙囪裊裊炊煙，催促著一天的日常即將展開，悠遠的河道將城市一分為二，舊城區總有說不完的奇人軼事，而現代化的新城區萬事萬物皆與世界接軌。這兒彷彿夢境般的存在，每個人內心出口各自精彩著不同風景，若說居所是城市拼圖，方寸間將串起溫馨叮嚀與青春回憶。
夕照落入山頭，明日又是奇幻的一天，晚安，我的王國。

I overlook the whole city from the top of the mountain. Good morning, my kingdom.
The densely packed buildings in the landscape are like babies cuddling their mothers. At this time of the morning, the bells of the church in the distance ring and smoke rises from the numerous circular chimneys, urging a new day of routine to begin. The distant river divides the city into two parts. There are countless anecdotes in the old town, but everything in the modernized new town is in line with the world. It exists like a dream. Everyone has some version of a splendid scenery in his or her mind. If every residence is a piece of the city puzzle, every inch can be connected with the warm reminders and memories from our youth. As the sun sets behind the mountain, tomorrow will be another magical day. Goodnight, my kingdom.

■ 拍攝年份 Year：2020-2022
■ 拍攝地點 Location：台北Taipei、花蓮Hualien、宜蘭Yilan、高雄Kaohsiung、台中Taichung

双生｜謝立中

思覺失調症，使父親分裂的心智難以分辨真實與幻覺的情況。
初期，負面症狀就像另一個自己，時時刻刻的隱藏在身旁。
而在長期的相處下，內在和外在已漸漸的共存。

Schizophrenia is a condition that makes it difficult for my father’s split mind to distinguish reality from hallucination. In the early stage, the negative symptoms are just like another self that is hidden by his side all the time. However, over the long term, the inner self and outer self gradually coexist.

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：台南Tainan

Spirit of Syukor｜Mohd Samsi Bin Sumairi

Syukor Khamis自四歲起跟隨他的父親至馬來西亞瓜拉登嘉樓甘榜古邦布珠的水牛棚，使得他與動物之間的關係非常親密，不像喜歡玩手機的同齡孩子，他更喜歡和動物相處。學校放假的一大早，Syukor會帶著煤油燈去水牛棚看他心愛的水牛，並把水牛從圍欄放到牧場前，他會幫牠們洗澡，在等待黎明的這段時間，Syukor會和他的水牛玩耍，有時他會躺在水牛的身上，用手圈住水牛的頭，並留下充滿情感連結的詩句。Syukor時常光腳蹲伏，與他那長有駭人尖角與強壯身軀的水牛待在一起，這種人類和動物的親密是無與倫比的禮物。

Syukor Khamis has been used to follow his father since he was four years old to the buffalo pen in Kampung Kubang Bujuk, Kuala Terengganu, Malaysia, causing his relationship with the animal to be very close and intimate. Unlike children his age who pefer

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：瓜拉登嘉樓，馬來西亞Kuala Terengganu, Malasia

旋盪鐸音｜方好慧

恆古的鐸聲，震著千年迴盪，如電如露，夢幻泡影，遙遠的悠悠，如一盞萬年燈，照引前方，無盡的來時路。

The eternal resonance has reverberated for a millennium, like electricity, like dew, and like dreamlike bubbles.
In the distant years, it’s like a ten-thousand-year lamp leading to the endless road ahead.

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：新北New Taipei

Love｜王時彬

愛以各種形式存在，有著截然不同，卻熟悉的形狀、氣味、及語言。
有些愛不善於被表達卻銘刻在心；有些愛充滿感染力；而我們在生命中，不就是持續不斷尋找著自己熟悉的 "愛" 的樣貌嗎?

Love takes on various shapes and forms. It can be so different and still look, feel, and taste similar. It speaks the same language.
Sometimes it can’t be put to words, but lives on forever in the deepest corners of our hearts; sometimes it’s infectious.
What we are searching for in life, if not our own familiar kind of 'Love'?

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：德國Germany、瑞士Switzerland

自慰｜何慕昀

「自慰在某個房間發生，極樂化為一段想像與一種手勢。」
「升高、發熱、腫脹，他很快達到高潮。然而瞬間的釋放，伴隨大片歸來的意識，裸體使他感受到無以名狀的罪與視線聚焦到他自身與外露的性器，彷彿自慰的狂喜已瓦解成空蕩赤裸的荒原。」
「他回到同樣的房間自慰，極樂化為一段想像與一種手勢。他感受到無限的自由與生命的延展，還有將至的焦慮。」

“Self sex took place in some room. Bliss turned into imagination and a gesture.”
“Elevated, heated, and swollen, he reached orgasm quickly. However, the instantaneous release was accompanied by a flood of returning consciousness. Being naked made him feel indescribably guilty and focus on himself and his exposed genitals. It was like the ecstasy of self sex had disintegrated into a bare wasteland.”
“He returned to the same room to masturbate. Bliss turned into imagination and a gesture. He felt boundless freedom and extended life, as well as the impending feelings of anxiety.”

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：台北Taipei

觀看與凝視｜李君藝

站在海堤上加入觀看者之中，看著游泳者慢慢游遠，回眸一刻，或許是對我的凝視或是對她，可能是在照片前的觀看者。

Standing on the seawall, I joined the viewers and watched the swimmer slowly swim away. Looking back for a moment, perhaps it’s my gaze or her, or it might be the viewer in front of the photo.

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：基隆Keelung

眼線｜李坤育

人形看板廣告原為傳遞品牌商品的價值形象，但與所在的環境空間重新組合後，產生的畫面訊息往往令人莞爾一笑。此作品「眼線」觀察戶外廣告內的人物視線與現場人們所產生的互動，傳達出像是在親子遊戲間玩樂、專注視力、反映美感、舉發菸害、展現另一端的自我！彷彿暗地察探，提供消息引導給正在觀賞的你，傳達圖像意識的指示訊息。

Human-shaped cardboard cutouts are intended to convey the value image of branded products. However, after they are merged with the environment or the space they are located, the images and messages they create tend to make people smile. The work “AD Informant” is an observation of the interaction between the eyes of the characters in the outdoor advertisement and the people on the scene, conveying messages such as having fun in the parent-child playhouse, focusing on sight, reflecting aesthetics, exposing smoking, and showing another self! It is like secret spying, providing information and guidance for you, who are watching, and giving instructions of image awareness.

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：(1)-(3)新竹Hsinchu、(4)台中Taichung、(5)彰化Changhua

無用之用｜李碩

「椅」作為與人類息息相關的物，它出現在本不該存在的某個角落，它經歷了什麼來到這，又為何以這樣的狀態出現?

As an object closely related to people, “a chair” appears at some corner it is not supposed to. What has it experienced before? Why does it appear in this way?

■ 拍攝年份 Year：2020-2022
■ 拍攝地點 Location：上海Shanghai

人生幾何，幾何人生｜張瑄旂

如果人生是一種形狀，40歲該是什麼形狀？
以前的我一直以為自己在40歲時就會成為世俗眼中該有的形狀，直到滿40歲時才知道，40歲只是人生的另一個起點。
人生就像是幾何圖形，不會是一條直線，每個人都在各種點線面之間遊走，不管身處在哪個時空，永遠都不需要成為既定形狀。
獻給40歲再度鼓起勇氣重拾攝影的自己。

If life is a shape, what would forty years old be like?
I used to think that by the age of forty, I would turn into the shape I should be in the eyes of the world. It wasn’t until I actually turned forty that I realized that being forty years old is in fact just another starting point in life.
Life is like a geometric pattern. It will not be a straight line. Everyone travels between points, lines, and planes. No matter what time and space we are in, we will never need to become a given shape.
I dedicate the works to myself, who plucked up the courage to pick up photography again at the age of forty.

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：高雄Kaohsiung

磚情｜湛文甫

水泥脫落的房屋立面，裸露出層層疊疊的磚瓦，這裡存在的不僅是一棟房屋，更是某家人們的居所。消逝的房屋形體，留下的朱色磚瓦是生活的印記，像是文人舒展手卷字畫後留下的註解，留下種種想法，留下片片思念。

The façade of the house with peeling cement plaster reveals layers of bricks and tiles. What exists here is not only a house but also a family’s residence. The shape of the house has disappeared, but the red bricks and tiles are the imprints of life. Like the notes left by literati after they stretch the calligraphy and painting works, various thoughts and affections are left behind.

■ 拍攝年份 Year：2020
■ 拍攝地點 Location：台南Tainan

宿/命｜黃芹芹

宿舍這棟破舊的建築物似乎和自己產生了什麼，竟讓我在和她告別之際泛起不捨之情。我心裡明白，自己只不過是她六十年來的某個過客，我是個半透明、似有非無的存在。
任由大家來來去去的她疊加了許多人的生命，我將無色彩的宿舍空景，疊上半透明藍色的我的生命—掀開是虛無；疊蓋是合照、是對宿舍的自我安慰及緬懷。

There seems to be something between the old dorm building and me, which makes me reluctant to say goodbye to her. In my heart, I know that I’ve merely been a passerby to her over the past sixty years. I am a translucent and plausible being.
As people come and go, many people’s lives have been superimposed on her. I superimpose my translucent blue life on the colorless empty dorm scene—when it is lifted open, there is nothingness. The superimposition is a like a photo taken together to express my self-comfort and nostalgia for the dorm.

■ 拍攝年份 Year：2022
■ 拍攝地點 Location：台北Taipei

Area 19｜林儷芳

在美國內華達州南部林肯縣的沙漠中有一個神祕的封鎖區域，大家都稱它「Aera 51」(51區)，許多人相信它與眾多的不明飛行物體與外星人有關而聞名。
COVID-19像是一種外星病毒，「檢疫與隔離」將人群分成無數的封鎖空間，我稱它是「Aera 19」，疫情改變了人與社會的關係，改變原有的生活模式，厚重的壓力壟罩在所有人的心頭，每個鎖在自己「19區」的人，都需要對自己生活的各層面進行再適應。

There is a mysterious lockdown area in the desert of Lincoln County in southern Nevada called “Area 51.” Many people believe it is famous for it’s connection with UFOs and aliens.
Covid-19 is like an alien virus. “Quarantine and isolation” have divided people into numerous lockdown spaces that I have named “Area 19.”. The pandemic has changed the relationship between people and society as well as the life we all once lived. Everyone is feeling the heavy pressure. Those who are under lockdown in their “Area 19” have to readjust every aspect of their life.

■ 拍攝年份 Year：2021
■ 拍攝地點 Location：台北Taipei

憶難忘｜張國棟

他追憶著往日的一段情：曾經有位女孩深愛著他，不辭奔波辛勞、無怨無悔的奔向他，幾經纏綿。曾幾何時卻不堪地見他移情別戀捨她遠去，雖然他曾回頭想挽回這段情，怎奈如何吶喊，卻已解不開情意深鎖的她。

He recalls the past love: A girl used to love him deeply, running to him without complaints and regrets and sharing deep affection regardless of hard work. However, it was unbearable to see him love others and leave her. He tried to redeem the love, but he couldn’t unlock her love no matter how hard he cried.

■ 拍攝年份 Year：2020-2022
■ 拍攝地點 Location：(1)台南Tainan、(2)-(4)台中Taichung、(5)台北Taipei

像神像｜許尊凱

神像，某種程度上是一種人的意念、慾望、希冀的體現形式。
台灣歷經時代更迭，林立的巨型神像盤根錯節融入人文地景，成為魔幻現實、令人亦敬亦畏的獨特台灣風景。

To some extent, god statues are the embodiment of people’s ideas, desires, and hopes. Over time, the huge god statues in Taiwan intertwined and integrated into the cultural landscape become a unique Taiwanese landscape that is magically realistic and awe-inspiring.

■ 拍攝年份 Year：2021
■ 拍攝地點 Location：台中Taichung、高雄Kaohsiung、新北New Taipei、嘉義Chiayi、屏東Pingtung