這件作品起源於我的第一台數位相機的一次故障經驗。

某天，相機螢幕出現了兩個黑點。我開始將其想像成相機的「眼睛」——一雙能夠穿越物理表象、看見不同時空，或通往相機自身所欲觀看之處的眼睛。雖然視線被遮蔽，但那片黑暗彷彿並非阻斷，而是一個通往另一種感知維度、潛意識與不可視世界的入口。

當時，我長期思考著：

「真實是什麼？」
人與人、人與非人存在之間，是否可能產生比表象更深層的連結？

在一次環島旅程中，我使用這台相機，邀請旅途中遇見的朋友、陌生人與同行者，與這台相機進行長時間的對視。每次對視持續約三分鐘。

在這段凝視之中，觀看開始產生轉變。

原本向外投射、觀看世界的意識，因為「被觀看」而逐漸返回自身。觀看不再只是朝向他者，而是一種回到內在感知與自我意識的過程。

我透過相機另一端觀看參與者，同時也觀看著那雙出現在相機中的「眼睛」。由於相機中央的「瞳孔」被黑色遮罩覆蓋，我無法直接看見對方真正的眼神，只能透過極細微的表情、呼吸與身體狀態，去感知對方的情緒與存在。

而那被遮蔽的黑暗區域，也逐漸成為一種想像性的空間——彷彿通往另一個維度，或進入他人潛意識深處的入口。

在展場中，我將此裝置轉化為即時投影系統。當觀眾面對相機時，另一台相機同步拍攝這台帶有兩個破損黑點的相機螢幕，並即時投影至展場空間。觀眾因此會看見一個被放大的自己——一個瞳孔被遮蔽、既熟悉又陌生的自身影像。

在這個狀態中，觀眾同時成為：

觀看者、
被相機觀看者、
被觀看的人，
以及觀看自身正在被觀看的人。

在熟悉與陌生之間，
觀看開始產生裂縫。

而互動，
也不再只是操作裝置，
而是一種進入感知與意識場域的過程。

​

Gaze the Gap 2010｜Video / Performance Installation

Gaze the Gap originated from a malfunction in the artist’s first digital camera.

When two black spots appeared on the screen, they were reimagined as the camera’s "eyes"—eyes partially obscured by darkness. Rather than acting as a visual barrier, this darkened area became a portal to another perceptual dimension, connected to the subconscious, the invisible, and the unknown.

During this period, the core inquiry revolved around the nature of reality: Is it possible to establish deeper forms of connection—not only among humans but also with non-human entities and forms of existence beyond the visible?

During a journey around Taiwan, this camera was used to invite friends, companions, and strangers into prolonged moments of mutual gaze, each lasting approximately three minutes. Through this sustained act, perception fundamentally shifted. The gaze, initially directed outward, folded back inward through the experience of being seen. Looking ceased to be a mere observation of the "other" and became an encounter with one's own consciousness.

From behind the lens, the "pupil" of the device remained obscured by a black mask, making direct eye contact impossible. Instead, the emotional and psychological states of the participants could only be sensed through embodied perception—subtle facial shifts, breathing rhythms, and bodily presence. The obscured center transformed into a threshold, suggesting an entrance into the subconscious of the subject.

In the exhibition space, the device was adapted into a live projection installation. As viewers faced the camera, they encountered an enlarged, real-time projection of themselves with their pupils concealed.

The viewer simultaneously inhabited three roles: the observer, the observed, and the one witnessing oneself.

Between familiarity and estrangement, a fissure emerged within perception. Interaction transcended the mere operation of a device, evolving into an entry point into a shared field of consciousness and relational awareness.