​《秋》

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重複規律而破序的物件，像是時間或深或淺的刻度。

 

當面對一件深知有盡頭的事情，「時間」則成了弔詭的概念：「我們都知道結局是什麼，而我們準備好了嗎？」這段無法逃脫而不可逆的過程，有人經過，有人等待，它扭曲而重塑了與世界的體感距離。

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《秋》始於創作者在母親住院期間的影像書寫，透過熟悉的媒材提問、悼念，梳理潛藏日常的劇烈體驗，而貫穿其中的制式文件如見證與索引，作為關係的雙向確認；影像與文件的交會，是情感有機體和社會無機物的矛盾呼應，也或許是母子關係中時近時遠的互文。

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展覽從筆名季三的母親，蘊含生命態度的詩句〈告別夏天〉展開，這是場面對生命的共筆，他們以肉身拉扯碰撞，無聲的延續對話：「我希望以某種方式記住他。」​​

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Repetitive yet disrupted objects resemble the shifting depths of time’s markings.

 

When confronted with something we know will inevitably end, “time” becomes a paradox: We all know the conclusion—are we prepared for it? This inescapable and irreversible passage of time is experienced differently—some pass through, while others wait. It distorts and reconfigures our sensory proximity to the world.

 

《秋》originates from the artist’s visual documentation during their mother’s hospitalization. Through familiar materials, they pose questions, mourn, and navigate the intensity hidden within the everyday. Standardized documents appear throughout the work—serving as both testimony and index, a reciprocal confirmation of relationships. The intersection of images and documents echoes the tension between emotional organicity and the rigidity of societal structures, mirroring the shifting proximities within a mother-child relationship.

 

The exhibition unfolds through the poetry of the artist’s mother, writing under the pseudonym 季三. Her verses in “Farewell to Summer” embody a quiet confrontation with life itself—an act of collective authorship. Through the collision of bodies and the silent continuation of dialogue, the artist reflects: I want to remember them in some way.

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