01/10/2024
#一坪書室
Solo Exhibition by doolee: Sara Lee & Lucas K. Doolan
「時間，無論如何，是生活的一部分。而時間與空間，是你無法忽視的。我知道大多數電影都會忽略時間，因為它們只是在遵循故事情節，在敘述故事中：拍攝、剪輯、拍攝、剪輯、拍攝、剪輯，進而讓我們清楚地知道發生了什麼。但我們並不知道世界正發生了什麼，我說真的。而我對世界感興趣，不單僅限於被拍攝的它而已。」— Béla Tarr (2019)
-
展期 Exhibition opens：10/1（二） — 10/28（ㄧ）
24小時開放 — Open24 hours
-
「一坪書室」的展覽位於 #鹽埕第一公有市場。我們用一張〈House One〉洗衣空間的影像投影作品作為這個空間的展示。這個室內空間的日常性與投影的紋理，使得照片能夠無縫融入市場的日常活動。展覽呈現為一個被垂直切開的室內空間，將二維圖像解剖成空間的其他版本。這些不同的空間影像透過市場與展覽之間的交錯而被發現與體驗。透過布料所呈現的投影，讓照片中的深淺漸層與色調層次變得更加溫柔，其中照片的「暗調」也展現出好似素描中「暈染」的效果。在這個攝影創作的過程中，我們讓影像的清晰度被淡化，並將前景與背景之間的對比減弱，把攝影所構成的透視印象，轉變為一個宛若繪畫的空間來展現。
這種方法也是一種將照片解讀為「繪圖」來進行實驗，正如莎拉．莎拉·特雷德威爾 （Sarah Treadwell, 2016） 將繪畫視為：「一種客觀謙遜的創作實踐，受其所關注的事物，與其它的條件、揭示、可能性，甚至是渴望一種疏離，與被重新定位的態度，這就是繪畫的本質。」 拼貼與建築攝影相融的投影過程，抹去了對於影像原有的認知與熟悉特質，也間接街拆解了建築影像呈現建築「完工」的單一價值理解，透過投影堆疊，將影像化為各種「疏離」建築本體的反思，讓建築再次回到建築模型與繪圖階段的創作狀態，進而展開建築影像的開放性與另類思維。
-
書名/Title：Blue Mirror Light
作者/Authors：Sara Lee & Lucas K. Doolan
語言/Language：英文、 中文
開本/Size：29cm x 30cm
頁數/Pages：162
出版社/Publisher：doolee / 都裏工作室
出版日/Published date：2024
ISBN：978-626-98935-0-8
-
《Blue Mirror Light》包含了三個臺灣建築作品 —— 孔維傑和張雅筑的 〈藍屋〉、沈庭增建築製作的〈目目裏山〉，以及大林工作室的〈House One〉。除了這三個建築攝影系列外，同時也收錄了一部分我們的挑戰建築與攝影邊界的實驗影像系列作品。在刻意限於三個建築作品中，本書延伸了空間攝影對於身體感的理解，試圖透過系列影像的呈現，緩慢地延展出空間裡的影像敘事，嘗試讓各個建築作品裡的攝影意圖能更加明確。藉幻影般的影像重複，系列中的作品都能以更為緩慢的節奏觀看，讓空間在安靜的視覺中，交疊出更多的影像感知。希望觀者能在《Blue Mirror Light》的策劃中，感受到更親密及個人的建築體驗。
以「長鏡頭」電影手法為靈感，這三個計劃被轉化為各自獨立的系列影像，拼接彙整成另一種空間敘事。如同電影中的場景一般，影像的畫面雖靜止，但卻蘊含著稍縱的時空與經驗，被捕捉的影像，質地是流動、具體，且帶有各自獨特的氛圍；而建築在此，則被攝影轉換為多種不同的樣貌，帶出空間多層次的精神。作為一個攝影師，且同時以電影製作人的角度來思考空間，正好給予我們另一種創作方式來記錄建築。
- English Below -
“Time, anyway, is a part of our life. Time and space, and you cannot ignore it. I know most of the films are ignoring time, because they are just going through the storyline, they are just telling the story: action, cut, action, cut, action, cut, and making it clear to us what is happening. But we don't know what is happening in the world, really. And I am interested in the world, not just in filming it.” — Béla Tarr (2019)
The exhibition at 3.3058m² Book is situated within Yancheng 1st Public Market. We chose the projected version of House One’s laundry space for this setting. The everydayness and textured projection of the interior enable the photograph to blend seamlessly into the daily routines of the market. The exhibition presents itself as a sliced-open interior of a house, split into two strips, dissecting the two-dimensional image into alternative versions of the space. These versions can be uncovered and experienced in the overlap between the market and the exhibition. The gradation and tonal shifts in the photograph are softened through the projection onto textiles, where the ‘shadings’ of the photograph can be interpreted as ‘smudges’ in the drawing. The definition of the image is reduced in this process, flattening the contrast between foreground and background, and representing the framed perspective as a drawn space.
This approach is also an experimentation with the idea of reading photographs as “drawings” as Sarah Treadwell (2016) suggests when she poses drawing as, “A self-effacing practice driven by other concerns, other conditions, revealing, perhaps, that the desire to become estranged, to relocate, is the nature of drawing.” The process of collage and projection of the architecture photograph was deployed to remove familiar qualities of a photographic image, dismantling the “finalized” construction of the architecture image in order to transform photographs into “estranged” fragments that reposition architecture to the state of models and drawings again, allowing the photographs to produce alternative translations to architecture.
-
"Blue Mirror Light" encapsulates three projects in Taiwan - Blue House by Wei Chieh Kung and Lydia Ya Chu Chang, Mirror Mountain by Shen Ting Tseng architects and House One by Studio Lin. In addition to the architectural photo series, there is also a segment of our personal work, a projected photo series that tests the limitations of architectural representation. This book is restricted to three projects only in order to extend the apprehension of the photographic experience of space with a longer format enhancing the range of photographic intentions for each architecture project. Through an illusory repetition of images each project in the series can be viewed at a slower pace allowing the space to be experienced visually in silence. The book seeks to curate a more intimate and personal architectural experience within the published document.
The three projects are translated into a sequence of images, spliced and compiled together as a spatial narrative in an approach inspired by the idea of a “long take” in cinema. As in films, the still frames of photography, although static, contain ephemeral qualities of time, space and experience, which are fluid, tangible and atmospheric. The projects can also be translated into a multitude of varying impressions through photography. To act as a photographer and at the same time to approach space as a filmmaker gives us an alternative way to document architecture.
