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透過現地走訪、體驗、採集,試著觀察與發掘許多隱沒於馬祖環境中的潛力與美學。生活環境總是由具有明確定義的範疇所構成,像是建築與景觀、明亮與陰暗、邊界與中心、安全與危險、管理與觀光等等,是否這些明確事物之間還存在著其他不被關注的角落? 一些不明確的部分? 這些部分是否可以被感受而相互對話,扭轉我們對地方價值甚至人與環境的關係? 我透過質感採集重新感知環境隱藏的美學:



Roughness、erosion and resist - texture collection
Hung Su

Through on-site visitting, feeling, and collecting, I try to observe and discover potentials and aesthetics hidden in Mazu. The living environment is always composed of clearly defined categories, such as architecture and landscape, bright and dark, border and center, safety and danger, management and tourism, etc. Are there other things, between these clear categories, that are not being paid attention to? Can these parts be felt and to interact to each other or to reverse our relationship with place ​​and the environment? I perceive the hidden aesthetics of the environment through texture collection:

"Matsu from 35 cm" : With a fixed distance of view at 35 cm, is an alternative way to observe. Lower ones eyes and heads to "see", re-observe and recording certain cherished fragments in the environment.

"Carbon Copying Mazu" : Returning to the thing itself, squatting down, reaching out to "touch", through touching, copying, and collecting, the unspeakable texture of the environment is revealed, and the environment's autonomy is felt.

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