2009 bopiarts

2003年以底片記錄了『剝皮寮』被改變的前夕,論攝影的動機與再現與否隨之隱沒在這六年的時間，影像中可閱讀的出口，似乎在『被攝物』欣喜於「現狀」的改變，無預警下，驅使我成就六年前在『剝皮寮』所烙下的刻橫,而那正如其名的『剝皮』場景，最終不該有復原的打算。

以觀音摺印刷成的「剝皮三十一波」攝影冊，隱置在龍山寺供人散播的經文書籍中，展覽其間，以每日限量兩本凸顯其稀有與不易取得，在無須眥費的層架之上,與經文刊物比鄰堆疊；之外，「剝皮三十一波」也限量交付拾荒者，在收購廢棄紙類的同時，以此書作為現金收購的交易，從中散佈在巷弄的居民手中。

一如影像的隨機交歡，引發於不經意的刻意隱藏，在經籍忽明忽滅的群冊中，以「善」迫使的共存，與影像再顯已荒滅的跡象,在無法抵禦的矛盾中,其仍舊驅使著無法自離的街頭流竄，並以拾荒之名，交遞下一次影像的「自我衰弱」。

TBo, Pi, 31, Waves is a creative work combining performance art and photography. The three components consisting of the exhibition space, Longshan Temple, and the scavenger simultaneously embark through the art endeavor. There are numerous “Bo, Pi, 31, Waves” parallel-folded photo books on display, and the books are also transferred to be placed on the bookshelf with limited–supply free publications inside the Longshan Temple, where amidst the other free books, the photo pamphlets seem to be disguised amongst them. Furthermore, limited amounts of these books are also given to the local scavengers. While they are collecting recycled papers, they could use these books to barter for cash. The trading action would help to distribute these books to more people.

The artist has extended his work beyond the confinement of the exhibition space, and the work no longer stays silently inside the space, instead, since the beginning of the exhibition until the end is a process on the move. The realization of the work is not limited to only being looked at, behind the forlornness in the space and the image is an action being executed. Six years later today, the artist has brought out what he felt in Bolivia in 2003. Images formed by the fast-paced consumerism will always be easily replaced by even more exciting sensual impacts. The photo book ignites a trading mechanism with the scavengers, and seems to have foreseen the death of the image (Under the illusive magic created by the media, there is a strong force that is altering people’s subconscious and well-power, and as the bizarre trading takes place, the useful values in the images will be lessen. As the “magical light” within the images are completely inexistent, they will become obsolete.)