得獎作品

落果｜謝明澄

落果，指果實在成熟之前，自樹體脫離、掉落的現象。
落下的果，或能變成熟甜美，亦或只是苦澀乾癟，等待腐敗。會孕育出新芽嗎？
關於家，以及那些難以承受之輕。

"The Fall of Fruit" shows how the fruit resprouts after falling off the tree and getting decayed. It is about home and the unbearable lightness.

■ 拍攝年份 Year：2023
■ 拍攝地點 Location：(1)台北Taipei (2)(3)(4)(5)花蓮Hualien

Serenity｜曾凡寧

寧靜，並非毫無聲響，而是開始能聽見微細的音律。「Serenity」不描繪地景或大自然，目標是再現在這些場域裡聽見的聲音，諸如的寧靜片刻讓我聽見內心與外界合譜之聲律。以「拍攝內容紋理」、「後製表現手法」與「微噴紙張質地」三要素結合的可能性，延伸視覺張力，進而觸發聽覺的想像。

Serenity is not the absence of sound but the awakening to the faintest hush. Serenity does not depict landscapes or nature; rather, it seeks to recreate the sounds one hears in these spaces—those tranquil moments when I can perceive the harmonized rhythms between my inner self and the external world. Through the interplay of three elements—"the texture of captured imagery," "post-production techniques," and "the tactile quality of fine art paper"—the visual tension is extended, igniting the imagination of sound through the lens of vision.

■ 拍攝年份 Year：(1)(4)2024 (2)(3)2023 (5)2022
■ 拍攝地點 Location：(1)(2)(4)慕尼黑Munich (3)哥本哈根Copenhagen (5)施塔恩貝格Starnberg

城市鷺人｜吳宗軒

鄉下的鷺鷥
如人般面對著生存的問題 飽腹 居住
或為群體 或為個體

Egrets in the country
to eat to live
to survive
just like mankind
in flocks
in solitude

■ 拍攝年份 Year：(1)(2)(3)2025 (4)(5)2024
■ 拍攝地點 Location：(1)(2)(3)台北Taipei (4)嘉義Chiayi (5)花蓮Hualien

Birds of a Feather｜張宸瑋

「Birds of a feather flock together」源自英國諺語，字面上描述了同類鳥群聚的現象，意指志趣相投的
人自然會相互吸引並聚集在一起；而這些發生於台北夜晚的人際互動，正是我視覺化詮釋這句諺語的嘗試。

"Birds of a feather flock together" is an English idiom meaning "people of the same sort or with the same tastes and interests will be found together".The same phenomenon is seen in the interpersonal interaction in the nighttime Taipei, which has inspired me.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：台北Taipei

短暫的親密｜莊智皓

《短暫的親密 Ephemeral Intimacy》系列作品探討了當代速食文化背景下，交友軟體上邊界的模糊以及人們對愛的探索。在東亞語境中，社會的保守性、父權主義和異性戀思維作為社會的霸權，使得愛在這樣的環境中顯得壓抑，並且令人渴望抒發。本系列作品透過交友軟體作為媒介來探索自我身份，藉由與對象的交流並進行拍攝，介入他們的日常生活，捕捉他們脆弱的瞬間，試圖從這段旅途中，重新探索當今約會文化中對於身體、慾望以及族群之間複雜的權力關係。

"Ephemeral Intimacy" delves into the blurred boundaries of connections on dating apps and the individual exploration of love. As a Southeast Asian growing up in a conservative, big family, I was taught to conform to societal expectations of heteronormativity. However, my journey of self-discovery began when I turned to dating apps to explore my own identity. I photographed men whom I met online, visiting their living spaces and capturing vulnerable moments. This process also exposed the subtle but pervasive power dynamics that shape contemporary relationships, particularly within the Western world. It led me to question conventional notions of desire, confront issues of race, and navigate the complexities of contemporary dating culture.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：英國倫敦London, UK

Meme Portrait｜李毓琪

2024 年10 月, 我拔掉了第四顆智齒, 看著桌上散落的智齒。

這是我嗎?

智齒作為一種痕跡器官, 是生物在演化過程中留下的證據。
我拿著我, 我拍下我。
從單張照片中切割出局部的影像呼應從整體中被主動取出的器
官和局部的身體。
這是我的生日肖像, 是攝影截取的生物遺跡。

In October 2024, I had my fourth wisdom tooth removed and looked at the scattered teeth on the table.

Is this me?

As a vestigial organ, the wisdom tooth serves as tangible evidence of human evolution.
I hold myself, I capture myself.
Cropping partial images from a single photo echoes the act of extracting an organ from the whole, a fragment from the body.
This is my birthday portrait—a biological relic captured through photography.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：台北Taipei

她的複象｜彭家茵

我、媽媽、和奶奶，同為一個家的女人。有時，我們共同抵禦著外界的惡意，有時我們孕育著，成為彼此的惡意，直到異化了自己，不知不覺間，活成彼此欲掙脫的牢籠，空缺的渴望，活成了，彼此的複象。

Me, my mother, and my grandmother— women of the same family.At times, we stand together, resisting the malice of the outside world. At times, we become the very malice that consumes us, unwittingly transforming into the cages we long to escape,the voids of unfulfilled desires. We have become, unknowingly, reflections of each other's illusions.

■ 拍攝年份 Year：2023
■ 拍攝地點 Location：新北New Taipei

形構關係：權力與情感的幾何解析｜方好慧

以抽象幾何形狀象徵人際關係的複雜性。圓圈和線條交錯如同政治、企業或家庭中的權力結構，有的關係緊密穩固，有的則保持距離甚至斷裂。層疊與空隙展現了親密與疏離的動態平衡，也暗示了支持與威脅並存的狀態。透過這些形態，來捕捉人際互動中的連結、隔閡和微妙的情感流動。

Geometric patterns are used to symbolize the complexity of interpersonal relationships. Symbolizing the power structures among politics, businesses, or families, some are close and steady, while others are alienated and even broken. The overlapping and seams reveal the dynamic balance between intimacy and alienation and suggest the co-existence of support and threat. These patterns thus capture the tie, barrier, and subtle emotional flow in interpersonal interaction.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：基隆Keelung

凝視的解剖｜黃暘

凝視的解剖表面是街頭攝影，但在於挑戰觀看影像的方式及探討攝影師的權力，創造街頭/ 紀實攝影的對話。通過模糊被攝者的面孔、扭曲負片，創造超現實的人物形象，消除身份著重在事件及關係。這樣的手法不僅質疑攝影是否真實記錄現實，更挑戰攝影師與觀者對影像權力的掌控，試圖打開關於身份、現實與觀看的討論空間。

"Anatomy of Gaze" is seemingly street photography. However, the discourse between street photography and documentary photography is created by challenging the way of viewing the images and by exploring the power of photographers. By blurring the faces of the characters and distorting the negatives, a surrealistic character image is created to erase the identity, focusing on events and relationships. Apart from questioning about the true record of reality photography, this approach further challenges the power control over images of both the photographers and viewers, attempting to start a discussion among identity, reality, and viewing.

■ 拍攝年份 Year：2023
■ 拍攝地點 Location：新竹Hsinchu

Detached from Reality｜Jacek Cislo

人們在忽略身邊人的同時卻能與數千里外的陌生人交流，希望能用作品探討這樣扭曲的人際關係。

I wonder how it is possible that people can be so detached from reality, can communicate with a complete stranger thousands of kilometers away, and at the same time ignore the person next to them. I showed this disturbed relationship on the actual example.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：普什奇納Pszczyna

祝福｜卓育均

忘了什麼時候開始學會譁眾取寵，為身邊人帶來歡樂，為生活平平順順，卻忘了為自己脫下一次皮囊好好呼吸一次。

I can't remember when I began playing to the gallery to entertain people around me in order to make life easier and smoother. Yet, I forget to shed my disguise and relax.

■ 拍攝年份 Year：2023
■ 拍攝地點 Location：(1)(2)(3)新竹南寮幸福沙灘Xinfu Beach in Nanliao, Hsinchu (4)(5)新竹南寮自助洗車廠Self-service carwash in Nanliao, Hsinchu

停校日｜陳宇弘

因少子化逐漸停辦的私立院校、高中職，在抽離師生存在及失去原先功能後，被留在這校園空間的是什麼？除了極少數能夠轉型作他用的案例，這些即將或正在成為廢墟的校園場域，現在是什麼模樣？過去承載了些什麼？透過攝影去對空間記憶進行書寫與表現，反思空間的功能性改變與過渡狀態。

Without teachers and students, what is left in campuses which have gradually closed due to low birth rates? Except for a very few of them that can be transformed for other uses, what are the actual conditions of others that will become or are becoming ruins? What have they contained? By keeping a record of the memories of these spaces with photography, I aim at reassessing the functional change and transit of space.

■ 拍攝年份 Year：(1)(2)2022 (3)(5)2024 (4)2023
■ 拍攝地點 Location：(1)(2)台北Taipei (3)(5)苗栗Miaoli (4)新北New Taipei

眠未夢醒｜林冠廷

這部作品源於我大學生活混亂的睡眠作息。在這段自由且無拘無束的時光裡，我陷入了晚睡的輪迴，夜深人靜時難以入眠，逐漸體驗到睡眠不足的痛苦煎熬。這種失衡的作息深刻地影響了我的日常生活，形成了難以擺脫的惡性循環。每當夜幕降臨，我輾轉反側，無法入睡。清晨醒來，則因為夜晚的片段式睡眠而難以提振。然而，正是在這些不眠之夜，我的思緒格外活躍，我常常靈光乍現，解答了許多平日裡未會想出的問題。這部作品以誇張的手法呈現出這段錯綜複雜，充滿思索的失眠經歷。

This work originated from the deep reflection on my sleep pattern change when I was in university. In those wild and carefree days, I was stuck in the staying up late cycle. Having difficulty in falling asleep at night, I began to suffer the pain of insufficient sleep. Such a workrest imbalance deeply affected my daily life, bringing me an unmanageable vicious cycle. I kept tossing and turning at night and couldn't concentrate in the daytime due to the fregmented sleep. Thanks to those sleepless nights, new thoughts kept coming into my mind, helping me to figure out many unsolved problems. Through exaggeration I presented this complex and thought-provoking insomniac experience.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：新北New Taipei

王之岩石｜魏忠誠

透過鏡頭將獨特的岩石，以王者的氣勢表現出來，有孤獨的也有威武，各有不同方式呈現，此次主題以海邊的岩石或者海石為主，以風景攝影的方式呈現，因為海邊大自然變化，及海潮衝擊，景觀隨時變化，以一期一會心情拍攝，全部用4x5 底片相機拍攝。

Through the camera lens, peculiar rocks are presented in the splendor of kings. Some are alone, while some are powerful. Each is presented in a unique way. Rocks or sea rocks by the seashore are presented in the style of landscape photography. Due to natural weathering and sea corrosion, scenes are changing from time to time. With the mindset that "Every encounter is a once-in-a-lifetime opportunity," I captured these photos with 4x5 negatives.

■ 拍攝年份 Year：(1)(3)2021 (2)2023 (4)2024 (5)2022
■ 拍攝地點 Location：(1) 花蓮 ( 清水斷崖海邊) Hualien (seashore at Qingshui Cliff) (2)(3)花蓮 ( 秀林鄉海邊) Hualien (seashore at Xiulin Township) (4)新北市金山區Jinshan District, New Taipei District (5)宜蘭縣頭城 Toucheng, Yilan County

黑部立山｜李金芳

獨自踏上，用攝影紀錄旅程，是幸福也是放下。

Travelled alone, I recorded the trip with photography. It's blessing and also letting go.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：(1)(3)(4)(5)大觀峰展望台 Kumamoto Observation Deck (2) 黑部水壩 Kurobe Dam

都市之痕：秩序中的裂隙｜陳俊延

都市建築的幾何秩序，整齊的排列和有序的線條營造出壓抑的秩序感。然而，影像中的光源如同「裂隙」，在規律中帶來不可控制的異愛，在都市化進程中隱藏的脆弱與不確定性。這些光芒如「傷痕」，揭示繁華外表下的疏離與矛盾，在完美秩序中潛藏的人性裂隙，思索在高度秩序中潛藏的柔弱與不確定。

The geometric order of urban buildings forms an oppressive sense of order through the net arrangement and orderly contour. However, the light sources in the images are like "cracks" that bring uncontrollable alienation hidden behind the fragility and uncertainty in the process of urbanization.These cracks are like "scars" revealing the alienation and conflicts behind the bustling. The cracks of humanity hidden behind the perfect order triggers the weakness and uncertainty under high orderliness.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：台灣Taiwan

現代禁錮｜鍾鎮予

在這個社交媒體無限發酵的時代，言論自由與其受到的規範不明確，世界開始變得容易對人評頭論足 。 別人的言論自由，反而形成一種自我的限制，會不由自主地把他人的想法和強加的文字置於自己身上，彷彿我們被困在那個框架裡無法掙脫，只能不斷接受外界塞進來的文字。在這樣的環境下，我們的思想和行為似乎不再完全由自己主宰，而是被外界的聲音所操控。我們不停地接受來自四面八方的評論，無法屏蔽那些我們不接收到的資訊，就像被困在一個無法逃脫的牢籠裡。此系列作品用光線模擬螢幕發出來的光，象徵著螢幕邊緣的框架。光是壓力的代表，也象徵著無形的枷鎖，黑暗區隔著主角與世界的距離，我們都很難脫離他人言論的束縛，就好像在一個框架中，想出去，卻出不去。

In a time when social media developing and the freedom of speech and its rules are unclear, people judge others easily. The freedom of others' speech unconsciously imposes their way of thinking and opinions on us, trapping us in a cycle of external judgment we can't escape, except by continually receiving outside commentary.Under this circumstance, neither our thoughts nor our behavior are under our control but the manipulation from outside. By continously receiving comments from all directions, we cannot shut down those unwanted information, as though we were being captured in an unescapable confinement.This series of works uses light to simulate the light emitted by screens.Light represents pressure and symbolizes an invisible shackle, with darkness separating the protagonist from the world. We all find it difficult to break free from the constraints of others' opinions, as if trapped within a frame—wanting to escape, but unable to do so.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：台北Taipei

鯨魚｜蔡明倫

以高雄港旅運中心鯨魚建築外型，捕捉其鋼結構建築點線面的線條及弧度之美。

The beauty of the contour and curve of the appearance of the whale-shaped steel structure of the Kaohsiung Port Cruise Terminal is captured.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：高雄Kaohsiung

88分之64分之4｜張簡于頌

88，是母親在世的歲數。
64，是我與母親生活交集的年歲。
4，是母親罹病後我與陪伴的歲月。
我的生命，從母親懷裡的臍帶開始；64 年後，母親安祥的在我懷裡止息。感謝母親留有四年的時間，讓我道愛、道謝、道歉、道別。親愛的母親、我愛您、我想您。

88 represents my mother's life, 64 of which we shared, and
4 were the years I stayed by her side as she battled illness.
My life began with the umbilical cord held in my mother's loving arms, and 64 years later, she passed away peacefully in mine.I am grateful to my mother for giving me the four preciousyears to express my love, appreciation, apologies, and farewells.To my beloved mother, I love you, and I miss you deeply.

■ 拍攝年份 Year：(1)(4)(5)2024 (2)2021 (3)2023
■ 拍攝地點 Location：高雄Kaohsiung

另類展示｜張毅生

去年初新一波疫情又來時，原本熙攘的夜市又漸冷清。面對清淡的生意，攤販只能低頭滑滑手機，整理商品。在夜色燈光下各色各樣的貨品恣意地展示著，琳瑯滿目。商家們只求疫情快點結束，恢復往常日熱鬧景況。

When the new wave of pandemic came at the beginning of last year, the once bustling nightmarket became sleepy. As business was quiet, vendors could only phub their mobiles or tidy up the merchandise. Under the light, a wide variety of merchandise was freely displayed in the night. Vendors simply hoped that the pandemic could end fast to regain business.

■ 拍攝年份 Year：2023
■ 拍攝地點 Location：南投Nantou

眠未夢醒｜林冠廷

這部作品源於我大學生活混亂的睡眠作息。在這段自由且無拘無束的時光裡，我陷入了晚睡的輪迴，夜深人靜時難以入眠，逐漸體驗到睡眠不足的痛苦煎熬。這種失衡的作息深刻地影響了我的日常生活，形成了難以擺脫的惡性循環。每當夜幕降臨，我輾轉反側，無法入睡。清晨醒來，則因為夜晚的片段式睡眠而難以提振。然而，正是在這些不眠之夜，我的思緒格外活躍，我常常靈光乍現，解答了許多平日裡未會想出的問題。這部作品以誇張的手法呈現出這段錯綜複雜，充滿思索的失眠經歷。

This work originated from the deep reflection on my sleep pattern change when I was in university. In those wild and carefree days, I was stuck in the staying up late cycle. Having difficulty in falling asleep at night, I began to suffer the pain of insufficient sleep. Such a workrest imbalance deeply affected my daily life, bringing me an unmanageable vicious cycle. I kept tossing and turning at night and couldn't concentrate in the daytime due to the fregmented sleep. Thanks to those sleepless nights, new thoughts kept coming into my mind, helping me to figure out many unsolved problems. Through exaggeration I presented this complex and thought-provoking insomniac experience.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：新北New Taipei

祝福｜卓育均

忘了什麼時候開始學會譁眾取寵，為身邊人帶來歡樂，為生活平平順順，卻忘了為自己脫下一次皮囊好好呼吸一次。

I can't remember when I began playing to the gallery to entertain people around me in order to make life easier and smoother. Yet, I forget to shed my disguise and relax.

■ 拍攝年份 Year：2023
■ 拍攝地點 Location：(1)(2)(3)新竹南寮幸福沙灘Xinfu Beach in Nanliao, Hsinchu (4)(5)新竹南寮自助洗車廠Self-service carwash in Nanliao, Hsinchu

形構關係：權力與情感的幾何解析｜方好慧

以抽象幾何形狀象徵人際關係的複雜性。圓圈和線條交錯如同政治、企業或家庭中的權力結構，有的關係緊密穩固，有的則保持距離甚至斷裂。層疊與空隙展現了親密與疏離的動態平衡，也暗示了支持與威脅並存的狀態。透過這些形態，來捕捉人際互動中的連結、隔閡和微妙的情感流動。

Geometric patterns are used to symbolize the complexity of interpersonal relationships. Symbolizing the power structures among politics, businesses, or families, some are close and steady, while others are alienated and even broken. The overlapping and seams reveal the dynamic balance between intimacy and alienation and suggest the co-existence of support and threat. These patterns thus capture the tie, barrier, and subtle emotional flow in interpersonal interaction.

■ 拍攝年份 Year：2024
■ 拍攝地點 Location：基隆Keelung