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Ruins
廢墟

“RUINS” (2024) is an invited collaborative project I participated in organized by London based artist Katrina Stamatopoulos and darkroom technician Carl Randall in the past few months. The raw materials that have been given are the destroyed abandoned negatives which have been soaped in leftover developer chemicals, sinking coffee, robbing tobacco and dust for long. After they been rewashed and dried, these negatives were distributed to various printers and artists who adopt analog photography process to freely interpret. The original project concept was a sporn out of a full-time film developer in a commercial c41 lab react to his workspace and destroying unused negatives besides the official darkroom process which demands precise and rigid control of darkroom printing.

As a result, I created a photobook mix-media installation including a foldable revolving photobook with a twisted metal mesh net and a standing sculpture. By specifically printing on the zoom-out details of the RUINs negatives and join them together, the revolving photobook shows different shape every time when it is opened. Also, it is an interactive piece with viewers and adjusts to the presentation environment. Chance is part of the creation element.

My artwork has two layers of interpretation for RUINs:
1) Cause of RUINs and the associations: The details and high contract printed photos (gelatin silver prints) show the chaos and uncertainty caused by natural or human-caused RUINs. Metal net as a fence symbolizes separation, restriction, and control which prevents and kills the noise that been caused. Opening the photobook in the shape of a bird symbolized freedom and the concept of hope.

Two out of the 16 photos in the book are printed from the same negatives in slightly different compositions. This symbolizes that history is generally repeated in a very similar way and historical experiments could made us think and learn from it.

a. Natural & Human-Caused Ruins: These stem from diverse sources like earthquakes, floods, and conflicts, highlighting the intertwining of environmental and social factors in shaping destruction.
b. Nature-Conflict Intersection: Areas hit by disasters and conflicts suffer impacts on cultural heritage, urging comprehensive conservation efforts.

c. Causes & Consequences Reflection: By juxtaposing ruins from natural and human causes, viewers ponder varied origins and outcomes, prompting contemplation on human influence.

d. Reconciliation with Nature: Highlighting humanity's link to the environment, the project advocates sustainable practices, stressing harmonizing human activities with ecosystems.
e. Peaceful Coexistence Call: Advocating reconciliation and dialogue, the project emphasizes empathy and resolution to prevent further devastation.

2) Overprotect also RUINs: Darkroom printing process generally has a strict structure and operation rules, analog printers are been trained to be very control and careful on all materials. While overprotect to reach the almost perfect condition could be a RUIN as well which lose the beauty of in-perfections during the handmade process. This could also associate with the growing process, if the parents and teachers are overprotecting the children, the children would actually grow slower as a type of RUIN because it reduces the opportunity for the children to learn by themselves.

The standing sculpture is constructed by a burned negative, a cracked glass, cropped and braided photo strip and burned tree brush. The order on how these items been place represents the mechanism of the darkroom printing machine (Enlarger) when printers use it to print photos. Negative been putting on top of the glass, with a piece of glass on the bottom, photos been printed out. Hidden in the left bottom part of the cracked glass, there is a rainbow color of rocket shape reflection created to symbolized the fires that create the RUINs.

Majority of the harms and suffers caused in RUINs are unreversible, while some of cause might be preventable. Wish for peace and look forward with hopes.



《廢墟》(2024年)是我過去幾個月受邀參與的一個合作項目,由倫敦藝術家Katrina Stamatopoulos和暗房技術員Carl Randall組織。給定的原材料是被毀壞的廢棄底片,它們曾經被浸泡在剩餘的顯影劑化學品,咖啡,煙草和灰塵中很長一段時間。將它們被重新清洗和乾燥後,這些底片被分發給各位暗房放曬師和藝術家進行自由創作。最初的項目概念是由一位商業C41實驗室的全職膠片暗房放曬師對他的工作空間進行一個創作反饋,並在官方暗房過程之外摧毀不被需要的底片。

做為項目邀請的回應,我創作了一個包含可摺疊旋轉相冊和立體雕塑的混合媒體裝置。通過在損壞底片的縮放細節上進行放曬並將它們組合在一起,旋轉相冊在打開時每次都會展示不同的形狀。此外,它是一個與觀眾互動的作品,並根據展示環境進行調整。隨機性是創作的一部分。
我的藝術作品對廢墟有兩層解釋:
1)廢墟的原因及聯想:細節和高對比度的照片(明膠銀鹽印刷品)展示了自然或人為造成的廢墟所帶來的混亂和不確定性。金屬網作為圍欄象徵著分隔、限制和控制,阻止和消除造成的噪音。以鳥的形狀打開相冊象徵著自由和希望的概念。
書中的16張照片中有兩張是從同一底片中稍有不同構圖的。這象徵著歷史往往以非常相似的方式重複,歷史性實驗可以讓我們思考和學習。
a)自然和人為的廢墟:這些來自各種來源,如地震、洪水和衝突,突顯了環境和社會因素在塑造破壞中的交織。
b)自然與衝突的交匯點:受災害和衝突影響的地區對文化遺產產生影響,督促全面的保護工作。
c) 原因與後果的反思:通過將自然和人為原因的廢墟並置,觀眾思考不同的起源和結果,促使對人類影響的思考。
d) 與自然和解:突顯人類與環境的聯繫,該項目倡導可持續實踐,強調人類活動與生態系統的和諧。
e) 和平共處的呼籲:倡導和解與對話,強調共情和解決,以防止進一步的破壞。

2)過度保護也會導致廢墟/ 損害:暗房印刷過程通常具有嚴格的結構和操作規則,模擬打印機經過訓練,對所有材料都非常控制和小心。然而,過度保護以達到幾乎完美的狀態也可能會導致廢墟/ 損害,因為它會在手工過程中失去完美的不完美之美。這也可能與成長過程有關,如果父母和老師過度保護孩子,孩子實際上成長得更慢,因為它減少了孩子自己學習的機會。

第二部分的立體雕塑由燒毀的底片、破裂的玻璃、裁剪和編織的照片條和燒毀的樹枝構成。這些物品的放置的順序代表了暗房印刷機(放大機)的機制。放曬師在使用它打印照片時的操作方式為底片放在玻璃上方,底片的底部放著一塊玻璃,照片被放曬出來。雕塑中在破裂玻璃的左下角隱藏著一個彩虹色的火箭形狀的反射物,象徵著引發損壞的火。

大部分廢墟形成過程中的傷害和痛苦是不可逆轉的,而廢墟的形成原因有些可能是可以預防的。
希望世間和平,帶著希望嚮往著未來。