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Be Right Back To Where You've Left.


那天會回到你那邊





7/8/2020 – 30/8/2020
Floating Projects     據點。句點


We spend our life producing numerous kinds of images: portraits of friends, portraits of family, portraits of our beloved one, portraits of someone who long passed away… These images further convey, reveal, disclose and confirm our emotion and relationship to these photographed subjects. The act of photographing constructs a memory shared by us and the subjects, and the photograph becomes some sort of memento that we hold on to, mentally and physically.

The seven portraiture works selected for Be right back to where you’ve left are my contemplation of using the photographic media as extensions for interpersonal relationships. By considering the process of image making, I turn the experience of seeing (or not-seeing) the images into a way to further extend or deepen the relationship itself within time. Going through conceptual and visual transformation, the act of photographing (recording) someone is not merely to make an nth document; it is an event in itself. The photographic acts become part of the relationship. In analogue photography, there is usually a time gap between the moment a photo was taken and when the subject could review the picture. As the photo is being shared, the moments gone past are back. A printed photo contains both time and recollection; it becomes a physical object of time and relationship. The works in this show raise the above issues and experiment with what a portrait could be, beyond the representation of someone’s face.

We are in an era surrounded by oceans of images for consumption, constantly bombarded by visual stimuli. Sometimes we have forgotten what portraiture truly means. There is the need for us to go back to the root of photography, to re-examine or awaken the sentiment and poetry that lie behind this medium.



我們一生都避無可避地製造影像:朋友的肖像、家庭照、愛人的相片、逝者的照片⋯。這些影像相繼帶出、透露、掲示及肯定我們的情感,以及被攝者和我們的關係。攝影的過程繼而成為一段被攝者和我們分享的共同回憶;相片本身則轉化為一種我們心靈上及實質上可捉緊的信物。

《那天會回到你那邊》選取的作品,是對攝影作為人際關係的延伸作出的沉思及對其可能性的探索。對影像的製作過程以至是觀看(同時未觀看)影像的方式作關係上的延伸及深化。經視覺和意念上的轉化,這些作品回到攝影的基本議題:攝影不單純是記錄,而是拍攝是整體的事件,關係本身是它的不可或缺的部份。「那天」指的是拍攝一刻,同時也代表了回憶。最終完成印製的相片盛載了時間和記憶,成為「那天」的具像。這些作品都在實驗和設問:一張肖像除了是一個人的五官的呈現以外,還可以是甚麽。

活在消費影像氾濫的年代,視覺剌激主導了主流影像的生產;我們有時甚至忘記了了肖像原本的意義。我們有需要回到攝影的本質,去重新審視或喚醒一些在攝影背後久違的情感和詩意。





Works Detail
 
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