Through a cognitive analysis of what constitutes popular expectation toward ‘landscapes’, his projects also simultaneously fabricate a genealogy for the unpleasant ‘non-landscapes.’ This quest serves as his protest against the saturated color scheme and pretentious grandeur in the monotonous visual presentation found in exiting landscape photography in the parklands in Taiwan, as well as his jabs at the psychological need of the viewer and image-maker for a way out of the immediate social situation to enter a realm of the exotic ‘other’ when adopting this repetitive and limited visual style.
If capturing aesthetically-pleasing scenic iconographies is a celebration of an official canon of the landscape genre, documenting unconventional sceneries is in contrast an active creation of an un-canonized genealogy for an un-officiated version of what landscape photography might be, turning the liberation-seeker into the oppressed, unpleasant sceneries into innovative escapes. Through projecting images onto the unexciting corners of the city, the boundary between reality and fabrication ultimately becomes blurred and inseparable…
