An endless history and its laws - Acceleration
如果說時空間的關係是一條無盡的跑帶，時間的流動是施力，我們因重力而立足於上，
而看似前進的奔向未來都是一場誤會。
而看似前進的奔向未來都是一場誤會。
一部無限的歷史與它的定律 - 加速度
2016
2016
這是一個關於時間與空間、一個我們存在於這世界上的方式。一種世界與生命的執行模式，以跑帶作為一部無限歷史的比擬，濃縮情感與事件的生命恆定狀態成爲不變的法則與定律。
我們在法規與社會規範下而生，在生命裡掙扎與追尋，作品中的玩具車與六角螺帽是我對人為軌跡的比擬，過程中他們摩擦、耗損、緊繃又鬆弛，作品以極限的形式呈現單純的物理現象與機械運動，以物件的換置與原地執行動態的改變收斂約束藝術家對世界的自定義：「存在，就是此時此刻」、「人之所以理性，正是因為跟機械不一樣」、「究竟我們是為何⽽前進」，像是藝術家對於自身假想的證明題。
我們在法規與社會規範下而生，在生命裡掙扎與追尋，作品中的玩具車與六角螺帽是我對人為軌跡的比擬，過程中他們摩擦、耗損、緊繃又鬆弛，作品以極限的形式呈現單純的物理現象與機械運動，以物件的換置與原地執行動態的改變收斂約束藝術家對世界的自定義：「存在，就是此時此刻」、「人之所以理性，正是因為跟機械不一樣」、「究竟我們是為何⽽前進」，像是藝術家對於自身假想的證明題。
An endless history and its laws -Acceleration
2016
If the relation of time and space is endlessly running, we live on this planet simply because of gravity. Time is the force of flow, and although we attempt to stop our progress towards old age and nonexistence, the passing of time is inevitable and cannot be stopped.
We were born within regulations and social norms, and have always struggled for and chased something in our lives. The toy car and hex nut are my comparisons to a man-made track; in the process, they would rub, wear out, become taut and become loose. With this work, I have tried to develop a mode of interaction between lives and the world, and hence extract an eternal state of regression. With the motion of the objects and the dynamic change of on-site implementation, they embody my three statements of enquiry and artistic exploration: ‘existence, right here, in this moment’, ‘humans are rational because we are not like machines’, and ‘what reasons are there for humans to move on?’
2016
If the relation of time and space is endlessly running, we live on this planet simply because of gravity. Time is the force of flow, and although we attempt to stop our progress towards old age and nonexistence, the passing of time is inevitable and cannot be stopped.
We were born within regulations and social norms, and have always struggled for and chased something in our lives. The toy car and hex nut are my comparisons to a man-made track; in the process, they would rub, wear out, become taut and become loose. With this work, I have tried to develop a mode of interaction between lives and the world, and hence extract an eternal state of regression. With the motion of the objects and the dynamic change of on-site implementation, they embody my three statements of enquiry and artistic exploration: ‘existence, right here, in this moment’, ‘humans are rational because we are not like machines’, and ‘what reasons are there for humans to move on?’
