PHOTOGRAPHY PORTFOLIO Chuan - Yun, Hsieh 2015-2022
CONTENTS
Chung Hsing New Village Series
Period 1 : Reminiscence of Dreams
Period 2 : Inside Chung Hsing
Period 3 : “_, thank you and farewell, again.” Photo Installation
Traces of the wind
Classmate Chen
Short film : Floating on Water
Throw your heart out in front of you, and run ahead to catch it.
p. 68
p. 5 p. 6 p. 16 p. 20 p. 48 p. 56 p. 76
Chung Hsing New Village Series
2015 2016 2019
This series of work was not made on the premise of elaborate orchestration but of a collection of intertwined events - events that tie together one’s growth, loss, and bond between their hometown. Through the lens of images, a second visit to the past was made possible, and the pain of loss and feelings of emptiness eased and diminished. The recollections of preceding experiences, in its own way, extends their touch and sparks every new creation.
Revisiting the works five years ago through a modern lens triggered a sudden realization – that there is an intimate connection between me and this very land. The connection was long seeded in the past, and evolved over the course of time. It swings back and forth. It speaks inwards and outwards.
Period 1, 2015
Reminiscence of Dreams
Modeled after the garden city based on the design of the New Town in London, Chung Hsing New Village was once the administrative center of Taiwan Province, R.O.C., the operation of which, however, was terminated after the Simplification and Refinement policy in 1998. The center was later left with nothing but a shell. Though once blooming and flourishing, the Village was then faced with the necessity for transformation.
Chung Hsing New Village is a place I call home, an environment with an unusual cultural context. The village once shone with glory but paled in the end, turning into a decadent society. Time passed, I returned as a traveler, walked into the administration development center that once stood proud, and took in the view of the way of life of the few current residents. Corners in the village seeped past memories, but through photographs, reminiscence of the past is made possible.
p. 6
p. 8
p. 10
p. 12
p. 14
Period 2, 2016
Inside Chung Hsing
In 2016, my nanny whom I grew up with in Chung Hsing New Village passed away. The thought of the memories of this land fading away terrifies me, so I tried to, in a gentle manner, record the sentimental memories in a wooden book via the forms of photographs, illustrations, words, and other media.
p. 16
p. 18
Period 1, 2019
“_, thank you and farewell, again.” Photo Installation
2019, printed imsges, epoxy resin, music, video, mirrors,
The image installation project of “__, thank you and farewell, again” elaborates the relationship between the artist and a specific dormitory-house in Chung Hsing New Village, Nantou. This project eagerly goes beyond the Euclidean space and physical structure of the given house. Using the skills of photography, the artist illustrates the idea that the house, in which she spent most of her time in childhood, saturated with her memories and emotions of intimacy.
The “would-be-lost" house has gently preserved the memories of the artist. Within the house, a dusty desk, a piece of cool and refreshing floor tiles, and all the other objects, provide fragile but essential anchorages for the artist to re-imagine and intertwine her memories.
After the dwellers passed away, the state-owned dorm-houses in Chung Hsing New Village will be took back by the authority. The images and space of the township that will be eventually wearing away, contain treasured and indelible childhood which has strongly shaped the artist. “Childhood” inhabits human beings throughout their lives. In his work “The Poetics of Space”, Gaston Bachelard analyzed the space of architectures by detailing private experience and imagination. Through the analysis, the prototype and intimate values of architecture could be revealed from the space itself. Following this approach, the artist uses the space of her previous house as the site of exhibition and material, to studies the effects of the childhood on her. The media of the project include image devices, mixed materials and voices. The photography features human as the subject and elaborate the interaction between the dorm-house and the artist. The artist re-establishes her memories and imagination to the house, and explore her experience of childhood.
p. 20
Living room Bath room Master bedroom Tatami room Courtyard Motivation -First break in -Investigation
Chasing memory
p. 22
Courtyard - My Playground
p. 24
Music Click, if there is no sound : https://drive.google.com/file/d/18xDctz_XUdnFb3GDlVRszwovoda2Ftrr/view?usp=sharing (Click!)
Exhibition Space - Courtyard
p. 26
Living Room - Accompany
p. 28
Music Click, if there is no sound : https://drive.google.com/file/d/13hRcM64TqfMOx7u_-YK_eg_-l8bePDgu/view?usp=sharing (Click!)
Exhibition Space - Living Room
p. 30
Bath Room - Allergy
p. 32
Music Click, if there is no sound : https://drive.google.com/file/d/1ei09NH5BFT-gARLBgA13PLOCcYHA6JSE/view?usp=sharing (Click!)
Exhibition Space - Bath Room
Bed Room - Reflection
p. 36
Music Click, if there is no sound : https://drive.google.com/file/d/17OfvxLUe0JolFs99ajKs9OBw4JnUADyQ/view?usp=sharing (Click!)
p. 38
Exhibition Space - Bed Room
p. 40
p. 42
Tatami room - Daydream (Video)
Video Screenshot
p. 44 Video Link :
https://vimeo.com/705037031
Traces of the wind
2017 -
Wind is the movement of the invisible. One can only see the leaves that it carries or the branches it moves. Life is like the wind; though it is ephemeral, it leaves its mark upon the world. It moves the dust until it one day settles, or until the next zephyr comes along.
p. 46
p. 48
p. 50
p. 52
Classmate Chen
2018 -
In an environment that seems to exclusively cater to mainstream media trends, how is one able to find genuine purpose and a connection to the world they live in?
Classmate Chen is a band founded by a friend of mine by the same name. My curiosity about the inner workings of a band eventually became more involved. At first, I volunteered to record one of the band's performances, but I soon found myself documenting every one of their practice sessions and recordings. Through documenting these experiences, I've witnessed the band's growth and changes in membership. I had practically become part of the band as its documentarian.
With raspy vocals, eerie choreography, and metaphorical lyrics, the band presents its truth of spirit - “Don't follow trends, don't apologize for your divergence from the norm.” The band embraces the world without prejudice or judgment and creates music guided by a philosophy of openness.
In a turbulent era of rapid change, it's of utmost importance to follow one's truth. Classmate Chen's adherence to this principle is why I would like to continue documenting the band's journey.
p. 54
p. 56
p. 58
p. 60
p. 62
p. 64
Short film: Floating on Water
| Still Photographer, Title Design, Film Poster |
2020, Director: YIHUI SU
Khun-sin is like a solitary island, and those who are struggling in water. Face with the missing husband who set sailed to the seas, Yue’s life is just like swept by the current as well, whereas her little Ren is looking for the water striders. What he wonders was that why they can live safely in water without sinking.
p. 66
p. 68
In one scorching summer, I visited a coastal town, Qinkunshen, in southern Taiwan to film “water striders”. Seizing this opportunity to appreciate the unfamiliar landscape, I was almost overwhelmed by the muggy climate intertwined with the stifling humidity. The sultry heat appeared to pervade this boundlessly barren land, turning into sounds, integrating into scenery, and vaporizing into smells.
During the spare time, I carefully observed this captivating seaside village. As time marches on, Qinkunshen seems to have faded away from our memories. Yet, things remain constant with no perceptible changes – the streams still stay there, so do the lakes and the vast ocean. With our unforeseen intrusion into this forgotten land, the tranquility reminded me that each paved road we cross, and every shelter we stay, temporary or indefinite, are all borrowed from the nature. The acute sense of mission thus has sprung into my mind that we have to protect this land from any potential contamination and damage, and to make the stunning beauty of the scenery remain.
p. 70
p. 72
p. 74
Throw your heart out in front of you, and run ahead to catch it.
The prerequisite for people of modern age to keep on living is implied in an Arab proverb, “Throw your heart out in front of you, and run ahead to catch it”.
People in today’s world have been caught in the stark reality, which further impedes the harmony of the self with the body. Therefore, no option was left but to live in the dreamy wonderland we built. That’s why I turned to the camera and begun to focus on my significant others and surroundings. Even though the reality does not always live up to expectations, we’re still trying to keep our dreams alive. In my mind, dreaming reflects the subconscious goal pursuit, and as believed by the existentialism, the essence of actions comes from the hope itself. That is, being able to throw our hearts ahead signifies that we still hold expectations towards the future, which in turn arouses our hopes to proceed in our lives.
p. 76
2017 -
p. 78