得獎作品

看見不見｜蔡昌吉

所謂「像由心生」，攝影者還能體現什麼是存在的畫像？
看見不見─虛無存在的畫像，企圖以隱晦的視像探究於「有與無」存在曖昧的概念。並以類超現實語意的暗喻影像，反映時間、消逝、存有與歷史的懸浮狀態。

As "the image reflects the mind," can a photographer portray the existing picture? Dis-appearing—In the pictures of abstract existence, the concealed images are intended to explore the ambiguous concept of the existence between "being and nothingness." The metaphoric images of the quasi-surreal meaning reflect the suspension state of time, fading, existence, and history.

■ 拍攝年份 Year：2019 - 2021
■ 拍攝地點 Location：(1) 嘉義 Chiayi (2) 鹿港 Lugang (3) 台南 Tainan (4) 鹿港 Lugang (5) 鹿港 Lugang

剝離｜謝哲維

世界終將數位化
當人格與記憶成為 0 與 1 的組合
我們是否真的存在過

The world will eventually become fully digitalized.
When personality and memory become the combination of zero and one, have we really existed?

◼ 拍攝年份 Year：2021
◼ 拍攝地點 Location：(1) 萬華區 Wanhua District (2) 陽明山 Yangmingshan (3) 板橋區 Banqiao District (4) 自家 Home (5) 中山區 Zhongshan District

回家｜李進能

有些人類施以近造物者的力量來保護瀕危的動物，卻也有些人類正對動物進行迫害。
我們打破自然界的生存定律，一邊破壞牠們原本的棲息地，又一邊打造牠們的避難空間。每一種生物在自然界中都有各自的定位，但我相信「監禁」與「被觀賞」不應是任何一種生物的職責。
在動物園拍攝這些動物時，我一直在思考，這裡真的屬於他們嗎？接著開啟 google map，用影像將這些動物送回家。

Human protect the endangered animal like their creators, but some of them are persecuting animals.
We break the law of survival in nature. While destroying their original habitats, we also create the refuge space for them at the same time. Each creature has its own position in nature, but I believe that "imprisoning" and "being watched" should not be the responsibility of any creature.
When photographing these animals in the zoo, I kept thinking about whether they belonged here. Then I opened Google Map and sent these animals home through imagery.

◼ 拍攝年份 Year：2021
◼ 拍攝地點 Location：臺北市 Taipei

Colorful｜林宛蓉

沐浴著陽光於街上遊走，這過程，給予我充沛的正能量。重新觀察自身周遭，透過攝影使其更加生動、明亮。
將 3D 立體景象轉變成像 2D 平面，彷彿陷於現實與超現實間的虛擬世界，而它們卻都真實存在著。
運用鮮明的色彩建構出城市新樣貌，藉此傳遞出自己眼中的台灣「不再是無彩色，用心體會後也能處處感到驚奇」，展現這塊熟悉土地上別樣的美。

Walking on the street bathed in the sun fills me with positive energy all the way.
Observe the surroundings from a different perspective. Photography makes everything more vivid and brighter.
When a 3D image is transformed into 2D, it is like a virtual world stuck between the real and surreal. But they do exist.
The vivid colors are used to construct the new image of the city and present Taiwan through my eyes.
"No more black and white. Experienced with an open heart, everything can be a surprise." The alternate beauty of the familiar landscape is therefore shown.

◼ 拍攝年份 Year：2020 - 2021
◼ 拍攝地點 Location：(1) 新北 New Taipei City (2) 宜蘭 Yilan (3) 台中 Taichung (4) 台中 Taichung (5) 宜蘭 Yilan

在．不在家｜張語辰

病疫把人困守在家，我的肉身漸漸被困成一道窗，通透著記憶中遙遠的自然景色，疫勢越是清晰，意識越是恍惚。
人究竟是現實的主體，抑或記憶的載體？

The pandemic keeps people at home. My body is stuck inside a window, through which the remote natural scenery in my memory can be seen. The clearer the pandemic situation is, the more I am lost in my mind.
Are people the subjects in reality or the carriers of memories?

◼ 拍攝年份 Year：2019 - 2021
◼ 拍攝地點 Location：台灣 Taiwan

花憶前塵｜李智勇

每位老友記都是各自盛開的花朵。回眸數十年豔麗人生，將飽含滄桑與甜美的歲月刻劃、銘記。出走大半生，他們的背影，顯得既渺小又偉大。

Every elderly is a flower in full bloom. Looking back on their beautiful lives in Decades, they portray and engrave their years which are full of vicissitudes and sweetness. Walking through most of their lives, their backs look tiny, but also gorgeous.

◼ 拍攝年份 Year：2019
◼ 拍攝地點 Location：澳門聖安多尼堂頤老之家 Lar de Idosos da Paró quia de Santo António

光景｜林厚成

在孤立、被分割的空間中，人體如肉糜般沒有出口，只剩呐喊。於是不安、脆弱、病態、孤獨更具凸顯。那微亮的光景，不是找不到呐喊的出口，而是找不著入口；原來，連嘶吼都沒辦法。原地來回踱步地按下幾張快門之後，帶著不安的心情，作為真實事物的印記與空間的轉換，於是我意識到，脫離影像世界的框架中，依舊只剩佇立的我，繼續尋找下一個不得其門的入口。

In the isolated and separated space, human bodies, like minced meat, find no exits except the sounds of crying out. Therefore, uneasiness, fragility, morbidity, and loneliness become more obvious. Instead of finding no exits except for the sounds of crying out, the glimmering light can't find the entrance. In fact, there is no way to cry. After pacing back and forth, I pressed the shutter several times with unease as the marks of real objects and space transition. Suddenly I realized that outside the frame of the image I was still there, continuing to search for the next entrance for which I may not have access.

◼ 拍攝年份 Year：2021
◼ 拍攝地點 Location：新北市 New Taipei City

2020 旅遊日記｜張家綺

2020 年新冠病毒猝不及防席捲全球，打亂人們生活步調，原定計畫被迫停擺，時間像是按下暫停鍵，2020 年月曆成了一種失去功能的物品。防疫期間，電話和視訊是對外聯繫的唯一可能。Stay at home 的同時， 我對著 2020 年世界旅遊景點月曆望梅止渴，跟一張張月曆景點在家裡來一場 homecation。

In 2020, COVID-19 ravaged the world and disrupted people's lives. Original plans were forced to be put on hold. It's like pressing the stop button of time. The 2020 calendar became an object without function. During the pandemic prevention, telephone and virtual conferencing were the only ways to communicate with the outer world. As I stayed at home, I gazed at the 2020 calendar featuring the travel attractions of the world and imagined a staycation.

◼ 拍攝年份 Year：2020 - 2021
◼ 拍攝地點 Location：台中住家 Home in Taichung

在你的世界裡｜曾國安

你還記得嗎？一開始，我喜歡依偎在你的世界繞啊繞，窩成幸福的輪廓。
後來，你的世界一直在變，那暈眩的彎道讓我走失了好多次，也找不到當初的那個你。
那天，我終於明白愛情也是需要練習的，但，我們之間只剩下這充滿眼淚的軌跡，假裝成一幅快樂又理想的模型樂園，悄悄地躲回我孤單的世界裡。

Do you remember? At the start, I liked to cuddle in your world and circled around into the contours of happiness.
Afterwards, your world kept changing. The dizzy turns made me feel lost several times. I couldn't find the original you.
That day, I finally realized that love takes practice. But, what is left between us is only the tear-filled trajectory, which pretends to be a model paradise of happiness and perfection. I just retreat back to my lonely world quietly.

◼ 拍攝年份 Year：2021
◼ 拍攝地點 Location：(1) 桃園 Taoyuan (2) 土城 Tucheng (3) 桃園 Taoyuan (4) 台北 Taipei (5) 桃園 Taoyuan

Will You Still Love Me in the Morning?｜蕭琬臻

托爾斯泰說:「幸福的家庭都是相似的，而不幸的家庭各有各的不幸。」
阿德勒說: 「幸福的人靠童年治癒一生，而不幸的人靠一生治癒童年。」
在心裡面生根蔓延的，不斷長出新生的刺，是每個人必然要看見的，屬於自己的黑洞。有人選擇恐慌、逃避， 也有人慢慢走進那伸手不見五指的黑暗，然後慢慢點起一盞名為希望的光。
Will you still love me in the morning? 相信某個人，並擁有被愛以及愛人的信心，是我們賴以走出那片黑暗的繩索。

Tolstoy said, "Happy families are all alike; every unhappy family is unhappy in its own way."
Adler said, "Unfortunate people spend their lives healing their childhood; lucky people healed by their childhood."
The thorns that take root and grow in their minds are the black holes everyone has to see. Some choose to panic and escape. Some slowly walk into unseen darkness and then slowly light up the beacon of hope.
Will you still love me in the morning? To believe in someone and have faith in loving others and being loved is the rope that leads us out of the darkness.

◼ 拍攝年份 Year：2021
◼ 拍攝地點 Location：台灣 Taiwan

Looking for Freedom｜Pranab Basak

心不在焉、獨立思考、自發性思考、自由聯想、創意想像，這些詞彙被用來描述我們的心智精神上的活動，或是我們自然而然所產生的心理狀態。
孩子的思想就像是個自由且有創意的大水庫，那樣的豐沛且源源不絕。
在籠中的童年，造就了不一樣的夢想。在那裡，心靈沒有恐懼，可以揚起頭；在那裡，世界沒有因家國之牆分崩離析。囚禁中的夢想故事，致自由。

Mind wandering, task-independent thought, spontaneous thinking, free association, and creative imagination are some of the terms used to describe what occurs when we notice our mental operation, or when we allow it the freedom to be in its natural state. A child's mind is a big reservoir, where thoughts are free and creative. The impact of caged childhood creates different types of dreams, where the mind is without fear and the head is held high, and where the world has not been broken into fragments by narrow domestic walls. The dream story of a caged life to freedom.

◼ 拍攝年份 Year：2018 - 2020
◼ 拍攝地點 Location：印度西孟加拉邦坎寧 Canning, West Bengal , India

木生目｜朱立葦

2020 年以來，為防新冠病毒肆虐，各國採取鎖國政策，阻斷了人與人間的交流，限制了移動的自由。作品採隱喻的手法，並置的上圖以被包裹的物件代表隔離，下圖以被禁錮的動物代表失去了自由；兩圖間以相形連結，原題名為【相生相】，但將筆畫拆解，意指解分崩離析的困頓處境，與並置影像相對應， 並呼應困頓的世界，顛倒了日常。

Since 2020, to prevent COVID-19, many countries have adopted the lockdown strategy to restrict human interaction and freedom of movement. The works metaphorically represent isolation with the wrapped objects above and the loss of freedom with the animals in captivity below. The pictures above and below are interconnected. The character radicals of the original Chinese title "Xiang Sheng Xiang," which literally means "image born from image," are taken apart to indicate the dilemma of disintegration. The contrast of the images corresponds to the world in difficulty where daily life is subverted.

◼ 拍攝年份 Year：2019 - 2020
◼ 拍攝地點 Location：(1) 高雄 Kaohsiung / 日本 Japan (2) 高雄 Kaohsiung (3) 高雄 Kaohsiung (4) 台南 Tainan / 高雄 Kaohsiung (5) 高雄 Kaohsiung

生活樣貌｜宋柏緯

你/我的生活樣貌如何，我們難以想像。或許可以形容的很具體，但視覺上卻是很抽象。
我試著用被攝者生活中重要的物件，來勾勒出每個人的生活樣貌。它真實的呈現在眼前，卻又保有許多想像的空間。

It's hard to imagine what your/my life looks like. Maybe we can describe it with concrete language, but it is still abstractly visual. I try to use the important objects that belong to the photographed to sketch people's lifestyle. It is truthfully presented in front of us, but there is still a lot of space for imagination.

◼ 拍攝年份 Year：2020 - 2021
◼ 拍攝地點 Location：(1) 富民路攤商集中區 Fumin Rd. Market (2) 華山園區 Huashan Park (3) 大龍街夜市 Dalong St. Night Market(4) 福德街 Fude St. (5) 濱江市場 Binjiang Market

知覺‧反饋｜林清湶

形態，形狀，點，線條，顏色，空間，質感和透視，因知覺的純粹，崇高而至上。

Forms, shapes, points, lines, colors, space, texture, and transparency are sublime and supreme because of the purity of awareness.

◼ 拍攝年份 Year：2020 - 2021
◼ 拍攝地點 Location：(1) 台南 Tainan (2) 高雄 Kaohsiung (3) 南投 Nantou (4) 高雄 Kaohsiung (5) 嘉義 Chiayi

轉身｜張哲瑜

如果曾經很在意過一個人，面對不得不分開的時刻，應該會希望好好說再見，認真地留下美好的印象， 或許就只是一個華麗的轉身，也能減少離別的遺憾。

If we care about one person so much but have to face the moment of departure, we should hope to say goodbye properly and leave a beautiful impression. Maybe just a stunning turn can ease the regret of parting.

◼ 拍攝年份 Year：2020
◼ 拍攝地點 Location：高雄住家 Home in Kaohsiung

意識形態｜彭寶全

意識形態是一種似是而非、解釋世界的方式，了解自己在世界上的位置，他們與他人的關係，以及他們的個人目的，角色和生活路徑，可視為是想像、期望、價值及幻覺的總合。

Ideology is a plausible way of interpreting the world. It can be regarded as the sum of imagination, expectation, value, and fantasy to understand one's personal position in the world, their relationship with others, and their personal goals, roles, and life paths.

◼ 拍攝年份 Year：2020
◼ 拍攝地點 Location：新竹縣芎林鄉 Qionglin Township, Hsinchu County

陪伴，是一種承接住對方的過程｜黃皇堯

拍攝這些影像時，總讓我想起這一句話：「陪伴，是一種承接住對方的過程」，而承接過程中的損耗總是在我們的身後默默的遺留著。
在此謝謝在生活中承接過我的每個人，希望這些影像的傷痕也能夠唤起觀眾珍惜身邊默默陪伴你的人。

Photographing these images reminds me of a sentence: "Company is a process to catch others." The loss in the process of catching is always left behind quietly.
Here I'd like to express the gratitude to everyone who used to catch me in life. I hope the scars in these pictures will also arouse the viewers to appreciate those who are always there for you.

◼ 拍攝年份 Year：2020 - 2021
◼ 拍攝地點 Location：高雄 Kaohsiung / 新竹 Hsinchu / 屏東 Pingtung

看似美好的景象｜黃章豪

隨著遠處傳來的浪聲，成為無人過問的沙礫，我們既飄渺又像浮雲，在這之中彷彿摸索著未知與期待， 我與大地孤寂沈沒在黑夜裡。
這一切看似美好的景象，亦可說是過去或未來。

With the waves from afar, we become the forgotten sand, exploring the unknown and expectations like floating clouds and being buried in the dark and lonely nights on earth. The seemingly beautiful image can be the past or the future.

◼ 拍攝年份 Year：2021
◼ 拍攝地點 Location：頂頭鵝沙洲 Dingtoue Sandbank

七號房客的秘密｜潘欣榮

這是一個空間歷史記憶建構的過程，我透過遺留在廢墟現場的物件，重新擺設並塑造出使用者的痕跡，再透過後製強化其物件間的關係，那無法言說的記憶，與不可告人的秘密，是對生活空間的一種想像， 與歷史遺跡的考古。

This is a process to construct the historical memory of the space. I rearrange the objects left behind in the relics, shape the traces of the user, and reinforce the relationship between the objects through post-production. The unspeakable memories and hidden secrets are the imagination of the living space and the archaeological study of the historic site.

◼ 拍攝年份 Year：2021
◼ 拍攝地點 Location：彰化 Changhua

蟻與螳螂的體適能｜鄭焜龍

利用自然的材料葉柄、樹枝、種子、製作舉重、單車、籃球、鉛球巧心佈置，加上三盞閃光燈的補光，善用螞蟻及螳螂的生活好奇習性，耐心等待再等待，拍了約兩千多張相片，絕對沒有後製合成精選出精華作品。

Natural materials such as petioles, branches, and seeds are used to create the delicate arrangement of weightlifting, cycling, basketball, and shot put, lit by three flashlights. By taking advantage of the curious nature of ants and praying mantises and waiting patiently, I took more than 2000 pictures. These are the original selected works without post-production.

◼ 拍攝年份 Year：2021
◼ 拍攝地點 Location：嘉義民雄 Minxiong Township, Chiayi

The Teacher｜Alok Avinash

Dinu 是村落裡唯一的老師，這裡的孩子因為貧窮而無法負擔學費。幾年前，Dinu 被派駐在邊境維安管制站，他與激進分子打鬥時失去一條腿，但這並未讓他喪失勇氣；Dinu 始終相信知識的力量，因此他盡其所能地將知識傳遞給孩子們。

Dinu is the lone teacher for these poor children of his village who cannot afford school expenses. Dinu, a former soldier lost his leg in a battle against some militants when he was posted as part of the border security force a few years back. Even the loss of his leg could not undermine his courage. Dinu believes in the power of knowledge and so he tries to spread his knowledge to as many children as he can.

◼ 拍攝年份 Year：2021
◼ 拍攝地點 Location：印度普鲁利耶 Purulia, India

光景｜林厚成

在孤立、被分割的空間中，人體如肉糜般沒有出口，只剩呐喊。於是不安、脆弱、病態、孤獨更具凸顯。那微亮的光景，不是找不到呐喊的出口，而是找不著入口；原來，連嘶吼都沒辦法。原地來回踱步地按下幾張快門之後，帶著不安的心情，作為真實事物的印記與空間的轉換，於是我意識到，脫離影像世界的框架中，依舊只剩佇立的我，繼續尋找下一個不得其門的入口。

In the isolated and separated space, human bodies, like minced meat, find no exit except the sounds of crying out. Therefore, uneasiness, fragility, morbidity, and loneliness become more obvious. Instead of finding no exits except for the sounds of crying out, the glimmering light can't find the entrance. In fact, there is no way to cry. After pacing back and forth, I pressed the shutter several times with unease as the marks of real objects and space transition. Suddenly I realized that outside the frame of the image I was still there, continuing to search for the next entrance for which I may not have access.

◼ 拍攝年份 Year：2021
◼ 拍攝地點 Location：新北市 New Taipei City

一足｜樊卓鏗

一足在《夔有一足》的典故中解釋為一人，而其它古籍大多將夔詮釋為蛇狀怪物，此外，在古代一足的動物是雙足動物的側面寫形。
每個人內心深處都會養著一隻如怪物的自己，它會在不知不覺間蠶食你的靈魂，別人看見的你只有一個人的身軀，但內裏卻有兩個自己。
而這張照片便是被內心如怪物的自己完全吞噬的瞬間。

In the classical allusion of "Kui has one foot," "Kui" is interpreted as a person, but in other classical works, it is interpreted as a serpent-like monster. Also, in ancient times, one-foot animals were considered bipedal animals.
In the depths of one's mind, everyone has a monster-like self that unconsciously consumes the soul. People can only see you as a body, but there are actually two selves within.
The picture depicts the moment when the inner monster consumes the outer self.

◼ 拍攝年份 Year：2020
◼ 拍攝地點 Location：香港屯門 Tuen Mun District, Hong Kong