「許多人應該都看過後窗（Rear Window, 1954）。
總體上我喜歡相對陰暗的空間。
起因是由於在那樣光照條件下，那樣的視角下，只有亮著的空間才有被窺視的可能。成為不被觀看、不可視卻得以凝視他人的，身在那樣的權力關係使我更自在舒服，其中多層次的主被動關係是件微妙的事。不過起因也無關權力，主要是不被觀看這件事。」
日記 2023.04.06
“I have this tendency of staying in the darker space since I was 15. The tendency grows from a very simple reason - it's just more comfy.
Many of you might have watched the film Rear Window (1954) by Hitchcock. Under the perspective like that, only things situated in the bright places is open to scrutiny. Vice versa, by staying in the dark, you are empowered with the autonomy to be unaware while studying/staring into everything from the bright side.
And this inequality of visibility became a plinth where power relations was created：Between Bright and Dark, Seen and Unseen. However, my concern is never about situate in this dominate position, but the state of remain unseen - I find freedom in the dark. “
Diary - 6 April, 2023
圖裡是一隻監視器和一隻切光燈往彼此互照，切光燈時暗時亮，旁邊安置著監視器的影像。每當燈亮時，監視器裡的影像會因過度曝光而被抹除，變得不可見，展久了鏡頭會因持續的被曝光而漸漸燒壞。
有天在Barbican看一個很生態女性主義的展，看到展場天花板，常態性架設，長得很像切光燈的監視器，當下想說那乾脆把它們互照好了。影像的位置、環境打燈方式、物件的位置、彼此間的距離、空間條件、燈影像空間三者互動的方式。以後有空再把東西做完，把該調整的條件都調整好吧。
In the work I placed a surveillance camera and a track light right opposite towards each other, along with the live recording from the surveillance camera projected on the floor, the light occasionally goes on and off. When the light turns on, the image from the camera will be violently blinded by the light.
Over time, the lens of the camera will be burned out through the consistent overexposure: diluted and broken by the very essence of its own - Light and Image.
The work is still in its progress, meant to be in a bigger scale. Will realise it when conditions allowed.
