閔詩涵 Min Shih Han
觀景窗Viewfinder 2020
LED 燈條,PP相紙,木作
這件作品為單向出口的長廊,在暗室中透過四周鏡面牆壁的反射,延伸出多個泛著紅光的孔洞,望向孔洞裡看,可以看到多張裸體女性的影像遍佈在狹窄的四方空間中,沿著長廊前進至轉角處後,能在一個較為低矮的長型空間中,看見一束孱弱的微光,當觀者在長廊尾端低下身時,一幅大型輸出相紙的裸體女性仰躺在上述的低矮的空間中,其面部朝向觀者。行走至動線後段,四幅長型的女子影像鑲嵌在貼近天花板的位置,透過下方的鏡面貼,使整體空間感變得怪異,接近出口處垂放了一幅靠著羅馬柱延展肢體的女子。
在這件作品裡,我嘗試將先前累積的平面攝影作品,在實體空間中呈現,在原先的構想中,更希望的是觀者可以以彎腰俯看、蹲或爬等的方式,透過改變身體動作及因為作品本身背光的緣故,觀者需要調整作品與自身的相對位置以利觀看。回憶自身於拍照時透過改變自己的身體位置,抓拍滿意的畫面角度,與觀者在展場為了取得最佳的觀賞位置,而不停地調整自己的身體位置,彼此間存在著某種有趣的呼應。
LED Strips, Polypropylene Paper, Woodwork
This piece is a corridor with a one-way exit. In the dark room, the mirrored walls reflect multiple holes glowing with red light. Looking through these holes, viewers can see various images of nude women scattered throughout the narrow square space. As the viewer progresses along the corridor and reaches the corner, a faint beam of light becomes visible in a lower, elongated space. At the end of the corridor, viewers must bend down to see a large photograph of a nude woman lying on her back in the low space, facing the viewer. Further along the path, four elongated images of women are embedded near the ceiling, and the mirrored surfaces below create a surreal sense of space. Near the exit, an image of a woman stretching against a Roman column hangs vertically.
In this work, I attempted to present my accumulated flat photographic works within a physical space. Initially, I envisioned viewers engaging with the piece by bending, crouching, or crawling, adjusting their bodies and positions due to the backlighting of the installation. This would require viewers to continually reposition themselves relative to the work for optimal viewing. This mirrors my own experience as a photographer, adjusting my body to capture the perfect shot, creating an intriguing echo between the viewer's and the photographer's actions in pursuit of the best view.















