強制破壞方法之一
64 Pages
Dimensions : 23cm x 0.7cm x 31cm2015
Why do humans engage in "destruction"? As a method, it can be a solution in times of crisis, a path to premeditated rebirth, or something else entirely. It embodies an active, aggressive attitude on one hand, while on the other, it involves the damaging reduction, a continuous battle of establishment and destruction. It is a process, dynamic as it unfolds, and it is a result, leaving scars for all to see. Humans reject it yet need it, as "destruction" epitomizes complete contradiction. "Compulsory Destruction Methods – An Image Creation Solo Exhibition by Han Cheng-Ye" attempts to reflect on and record the various forms of destruction humans face—concrete, abstract, mental, and physical—using the unique vocabulary of photography and imagery. This creative project seeks to expand its scope from a personal focus to a societal reflection, utilizing still photography to process the theme as a "series," documenting the various ways humans engage in self-destruction and reflecting this within contemporary society. It aims to depict the self-restraining and self-immersing state of humanity. To some extent, "destruction" is a manifestation of contradiction: it shows an active, aggressive attitude on one side, while on the other, it involves damaging reduction—a continuous battle between establishment and destruction. By recording the process of destruction, we might trace back to the origin of an event or state, finding new exits from within.
The concept of "Compulsory Destruction Method I" was realized with female dancer Melanie Wirz. This series attempts to express how the more people strive to break free from a constrained life, the more they fall into a chaotic sense of helplessness. This stems from humanity's inability to see its inherent flaws clearly. Under the guise of civilization, many malicious events are taken for granted, and our typical response is to remain detached, which has become the norm for survival. Starting from a seemingly ritualistic action, the dancer begins to move her body unconsciously in an abandoned sports field. Through the photos, viewers can imagine the body's slight sway, gradually awakening itself and dancing with the grass, trees, sunlight, and wind of that moment. The movements then become extensive stretches, twists, jumps, and spins. Each photo captures poses that are both tense and fluid, the dramatic lighting drawing viewers into a surreal dreamscape. At times, it's impossible to discern the body's state in the image, only classifying it as an organism extending from a dream. It uncontrollably occupies the entire frame, in complete freedom. Viewers' curiosity is inevitably piqued, wondering how the event will unfold. Suddenly, a streak like a spilled glass of water cuts through the sky, only to discover in the next image that it's not water but plastic, like cling film, spreading from the dancer's abdomen to her entire body. Forced to stop dancing, she struggles violently against the plastic enveloping her. The grainy images and low-angle shots make the scene look smoke-filled, with grass and trees like flames, as if the whole scene is burning. The more the dancer tries to break free, the more she seems consumed by her predicament. The final image freezes from an overhead angle, showing the dancer fallen, the plastic wrapping her body, even sealing her eyes and nose, leaving her immobilized. Only her mouth is spared, using the last bit of strength to breathe. This stillness is a stark contrast to the previous dynamic scenes, so much so that it seems as if the prior turmoil never existed.