Performance Art, Motor, Transformer, Tripod, Canon 650D Camera

Many years ago, when I first entered Taipei National University of the Arts, it was hard to imagine that one day my classmates and I would transform this dilapidated, nearly lightless space into a shared studio for creative work. Following my previous collaboration with Mana, I began to ponder the relationship between the photographer and the model. If I were to remove my role as a photographer, leaving only the camera, and have the device mechanically trigger the shots, I wanted to explore the differences between: photography without the presence of a photographer and the one-sided photography by other photographers who have no special interaction with the model. Additionally, how would a model react to consecutive shots without the photographer being present?

 

This work is an installation set inside the original abandoned pulp vat. The installation uses a transformer to control the motor's speed, which in turn triggers the camera shutter by striking a metal plate. Through the lens of an unmanned camera, the model's movements are captured with the built-in flash. On the opening day, the performance begins with the model crawling through a low hole into the space inside the pulp vat, performing for about half an hour. The audience views the performance from a platform half a floor above, and they can freely move around the curved groove surrounding the space. The performance concludes with the model dressing herself and leaving the space.

 

Back then, my classmates and I organized this exhibition in our studio, where I served as the deputy organizer. From planning, coordinating, and discussing creative concepts with each participant to assigning exhibition spaces, the six-month preparation period provided many new experiences. Since I was not present during the performance art event, I received feedback from the audience afterward, offering me an alternative perspective on my work. Most viewers found the absence of a ceremonial opening or notification intriguing but confusing, as they were unsure if the performance had started or was in progress. However, they could perceive the "photography" taking place through the flash and the model's changing movements. As for the images captured by the camera, the overhead viewing angle made it difficult for most viewers to see the real-time shots displayed on the camera. In hindsight, had this detail been better conveyed, it might have been easier for the audience to realize that "photography" was happening.