From the manifestation of fear, and then to grasp the fear, now to turn fear into light in the dark, like the sun in the dark night.
由恐懼的展現，再將恐懼捉住，現在要將恐懼變成黑暗中嘅光、像黑夜中的太陽。
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From the manifestation of fear, and then to grasp the fear, now to turn fear into light in the dark, like the sun in the dark night.
由恐懼的展現，再將恐懼捉住，現在要將恐懼變成黑暗中嘅光、像黑夜中的太陽。
“Ghost vehicle” is a special proverb used in Hong Kong life.
This term was born in 2019, and it describes a very ordinary car carrying extraordinary people.
The unknown is the greatest fear, and the most ordinary car is also the most common car on the road. Which one is occupied, or every car has a occupant, or is there no occupant?
Footpath and roads are only one level apart, and pedestrians and vehicles are only one level apart.
I blocked all the light in Hi-ace van to make it airtight and dark , and only pierced a ray of light with a cell phone card needle, turning Van into a giant mobile pinhole camera.
I put myself into this giant camera, imagining a identity that would trap into “ghost car” , and plunge into the mental state of that identity, imagine its first-person perspective, and the limitations of its body.
Construct a black box with an all-black positive space, hold the film with both hands, and remove the role of the camera as a tool.
Body to contend and coordinate with this ever-flowing space, Film records a trace of the external image illuminated by the pinhole and the inner body movement.
After shooting, I parked the Hi-Ace in the outdoor parking lot and wrapped the entire body with black tin foil to create a mold, a space, and a sculpture.
What this sculpture presents is my nightmare, a ghost car rushing like a ghost.
The audience can feel the contradictory texture of its rough but reflective plastic surface at will, and can also enter the work at will to experience the space inside the ghost car, feel the condensed complexion like being trapped, and slowly the audience is attracted by the ghost. The physical factors of the car floating, the unbalanced feeling brought by the exhibition venue, and the feeling of motion sickness and waves (just like when we sit on a boat and look at our mobile phones, we are prone to seasickness and waves, it is the space inside the boat that we are in the sea constantly swinging , while the phone is stationary, the imbalance brought by the phase).
鬼車是一個特別的香港生活諺語， 這用語誕生於2019年， 是形容極平凡的車內載着不平凡的人 。
未知是最大的恐懼，最平凡的車亦是路上最常見的車，哪一架有人，還是每一架都有人，還是無一架有人？
行人路與馬路只是一級之差，行人與車亦只係一級之差。
我把Hi-ace前座以外的空間都封閉著光，密不透光、密不透氣，只用手機卡針刺出一線光，把Van仔變成一個巨型流動針孔相機。
我自身會身處喺相機入面， 幻想自己一個會身處於「鬼車」的身份， 並投入這身份的心理狀態、設想其第一身視角、及其身體所受的限制。
以全黑的正空間建構黑盒，以雙手拉開菲林，剔走相機作為工具的角色。第一身地與此不停流動的空間中抗衡及協調，菲林記載針孔所照出的一絲外界影像 以及 內在自身的身體運動。
攝影完畢後，我把Hi-Ace 停泊於戶外停車場，以黑色錫紙 包裹着整個車身，製造一個模，一個空間，一個雕塑。
此雕塑所呈現的是我的惡夢，鬼車如鬼一乎飄著衝來。
觀眾可隨意觸摸它粗榎但塑膠反光光面的矛盾質感，亦可隨意進入作品內，體驗身處鬼車內的空間，感受侷促如被包陷著的凝住的氣色，慢慢觀眾因為鬼車飄浮的物理因素，所身處的展場所帶來的不平衡感，有著暈車浪的感覺（就如我們坐著船看手機會容易暈船浪，是我們身處海中的船內此空間不斷搖擺，而手機則靜止著，相方帶來的不平衡感）。
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