於我，旅行是很個人的，

有時候甚至於會覺得：

連親密伴侶都不適合同行。

身心理的步調、快慢緩急；

依自己速度隨時調整，

可以自由到我行我素....

對每天聽慣鐘聲而動作的我而言，

是何等奢侈的享受啊！

5/27~6/21要開個展了！

展覽6/21結束當天，

就帶班上同學赴泰國畢業旅行。

6/26送同學上機回台灣後，

6/27直接從曼谷飛雅典，

大概待一個月，

再搭船轉往伊斯坦堡。

因為8/23須前往中國麗江參展，

所以預計八月中下旬，

會從伊斯坦堡返回台北。

依這樣的行程表，

赴東京探視媽媽和老師的時間，

應該是九月初了。

這就是我的暑假計畫，

也是目前非人生活的動力來源。

就如 “日 ”所言：

生活可以忙忙忙，

但要努力讓自己不要忙茫盲喔！

印象•漂流 Expression • Rove

多年來在中南半島和歐洲大陸之間穿梭，攝影是個人在旅程移動中的閱讀和紀錄方式；影像則成為東張西望後記憶再現的載体。凝視著這些圖像，腦海裡總會湧現那些在異境中曾經邂逅的身影，即使在南亞海嘯的浩劫過後，在那裡，他們依然是：如實的存在，靜靜的生活著。震驚於鏡頭的洞悉能力，日後仍會繼續用自己的方式關注這塊半島，旅人行腳的路途還非常的遙遠，本次展覽「印象•漂流」應是另一段行程的開始。

Traveling in Mid-South Island and Europe, photography becomes my personal diary which companies me to read, to see and to record. The images are the reminders of the days of strolling around the locale and the moment to smile at strangers. Even South Asia Tsunami is passed; those survivors retain their characters and still live calmly in the same area. Those images of their life diary are the demonstrations to show the strength of human being. To continue my care of survivors, this exhibition is my way of showing my respect. As a traveler, a world is still there to explore, this is not my final destination; moreover this exhibition “Expression • Rove” is the beginning of my next journeys.

在有限的時間已經被上課鐘響切割的瑣碎之際，仍固執地選擇手工沖放、甚至日光曬印作品的古老技法，在數位科技進展快速的今天，恐會令多數的年輕創作者難以理解。其實，和多年來始終選擇「純攝影」的表現形式一樣，是因為自己頗能在手工這種悠悠緩緩的製作過程中，享受創作所帶來的成就與滿足！這亦足以解釋十餘年來，何以始終堅持克難式旅行的原因。在每一段極簡行曩的異境漂流中，旁人看來何苦來哉的雙腳行旅，筆者始終能自得其樂！這樣的態度反應在作品的形式和內容當中，也就非常自然了。

When time divides between teaching and working as a photographer, it is extremely limited. Thus to develop photos using traditional methods seems to be ineffective. However, I insist to develop photos by hand, exposure photos by sun. It is the way of transforming my observation of the world to the imagery as well as the way to show my enthusiasm and eagerness. The developing photos became an endless process of celebration over the course of my life. This is the reason to explain why I travel under budget for over ten years. It is because I fell into the enjoyment through camera lens to express my affectionate for people and living.

我所預期的影像書寫若稱得上成果，通常是奠基在異境國度的時空舞台，以多元且豐富的「去既視感」，去掩蓋攝影記錄寫實的宿命。大部分影像的內容所顯現的，並不盡然是旅遊書寫那般令人愉悅、嚮往的浪漫氣息。它們透露的反可能是上一世紀動盪戰亂餘燼下，人面對未可知的下一場浩劫前的茫然或聽天由命的豁達。這些對象也許是我個人的感情投射，鏡頭朝前，映照的心象卻直指自身。批判力不足的影像觀照，也可能是攝影者透過旅遊行腳的方式，進行自我治療的一段過程。透過每天與陌生人的微妙互動，在旅途中進行影像日誌的書寫，試圖觸摸前人行者在異境觀察中，也曾獲取對生命的深刻體悟。當然，若真能有所領會，也僅止於個人生命經驗中極為狹窄的視野罷了。

 Because of this, most of the visions contained in images are not the happy, romantic thoughts found in travelogues. They reveal the vestiges of wars from the previous century, they record people facing the next unknown disaster or simply awaiting their fate. These subjects are perhaps projections of my own feelings appearing before my camera lens, shimmering images from within that take on a life of their own. Many photographers may go through their travels equipped with insufficiently critical views, carrying on with what is a healing process for them. Passing each day exchange smiles with total strangers, they put together a photographic record of their journey, trying to touch people moving in strange scenes ahead even as they are assimilating all they have experience already in life.