沙、漏：對弈

Hourglass:  Play​

我延用聯展展名的句型：HEMLINGBY3: platform，也延續去年個展的作品《沙、漏》，分別在台中展出《沙、漏：棋局》（Hourglass: Game）、在台北展出《沙、漏：對弈》（Hourglass: Play）兩件「互相抄襲」的作品。

從platform（平台）的概念延伸，作為名詞的“Game”（棋局）是復盤了舊作的形式，重新懸置於藝廊的樓梯轉角；作為動詞的“Play”（對弈）則把舊作的「網子」，從「年曆」置換成「還沒有顯影的相紙」，讓作品對弈的對象除了時間、重力與溼氣，還加速了曝光的過程。因此，懸置於藝術村的作品，是一件從製作開始就已經受迫於光線的需要，而不得不參與變化的新作。最後，「時間感」是我始終不變的「棋子」，也是我的創作關注，而所有的作品都還是以「版畫概念」為基礎的創作。

I adopted the sentence structure from the title of the joint exhibition: HEMLINGBY3: platform, and continued the work from my solo exhibition last year, Hourglass. The two works, Hourglass: Game exhibited in Taichung and Hourglass: Play in Taipei, are interconnected artworks and an example of “self-plagiarism”.

Expanding from the concept of a platform, the noun "Game" in the "Hourglass: Game" reanalyzes the form of the previous work, repositioned at the corner of the gallery's staircase; the verb "Play" in "Hourglass: Play" replaces the previous work's "net," from "calendar" to "undeveloped photographic paper," accelerating the exposure process and introducing the elements of time, gravity, and humidity to the interaction. Therefore, the work exhibited in the art village is one that is influenced by the need for light since its inception and is compelled to undergo transformation. In the end, the "sense of time" remains my unchanging "chess piece" and my creative focus, with all the works still following the "printing concepts" serving as the foundation.

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