以數位影像與象徵性場景構築自然、社群與觀看機制之間的關係，在敘事與戲劇性交錯中表述當代身份的流動與張力。

HUANG, Chien-Hua constructs relationships among nature, community, and regimes of looking through digital imagery and symbolic mise-en-scène, articulating the fluidity and tension of contemporary identity through an interplay of narrative and theatricality.

從雕塑走向「數位影像操控」，創作轉變的契機？

大學學習雕塑時，我關注的是物件如何佔據空間，以及身體如何在尺度、材質與觀看位置之間感知作品。進入研究所之後，我開始意識到，自己真正想處理的並不只是實體物件，而是人如何經驗所處的空間、時間與現實。影像因此成為一個重要的入口。

What prompted the shift from sculpture to “Photo Manipulation”?

When I was studying sculpture at university, I was interested in how objects occupy space, and in how the body encounters a work through scale, material, and position. After entering graduate school, I began to realize that what I truly wanted to explore was not simply the physical object, but how people experience the staying space, time, and reality around us. The image therefore became an important point of entry.

為什麼總喜歡打亂真實世界中的場景與物件？

這種創作並不是來自某一個特定事件，而是我慢慢意識到，我們每天接觸的現實，本來就經過影像、媒體與個人經驗不斷篩選與重組。因此，我會將拍攝到的動物、城市空間與日常物件重新排列，讓畫面停留在真實與虛構之間。數位操控不是為了製造奇觀，而是想看看：當熟悉的秩序稍微偏移，現實中原本被忽略的關係與矛盾，是否會變得更加清楚。

Why keep disrupting scenes and objects from the real world?

This approach did not come from any specific event. Rather, I gradually came to realize that the reality we encounter every day is already constantly filtered and reassembled through images, media, and personal experience. I therefore rearrange the photographed animals, urban spaces, and everyday objects. Allowing the image to hover between reality and fiction. Digital manipulation is not about creating spectacle, but about asking what happens when a familiar order is slightly displaced. Might the relationships and contradictions that have gone unnoticed in reality become more visible?

動物如何成為你重新觀看「人」的入口？ 

動物對我而言，像是一面不完全平整的鏡子。我們能從牠們的姿態、情緒與行為中辨認自己，卻無法獲得一致的形象。正是這些相似與差異，使我們重新思考如何理解其他生命，以及人類在自然中的位置。當我們透過動物投射自身，「身分」也就在彼此凝視的過程中持續形成。換句話說，我們在觀看動物的同時，其實也正在形塑自己所認識的「人類」。

How do animals become a new entry point for looking at “the human”?

For me, animals are like imperfect mirrors. We can recognise ourselves from their gestures, emotions, and behaviours, yet never gain coherent images. It is these similarities and differences that prompt us to reconsider how we understand other forms of life, and humanity’s place within nature. As we project ourselves onto animals, “Identity” is continually formed through the act of looking at one another. In other words, as we look at animals, we are also shaping our own understanding of what “Human” means to be.

在動物園拍攝時，有沒有遇過動物反客為主、讓拍攝「不按劇本走」的時刻？

有一次，我站在與長頸鹿視線近乎平行的位置，近距離拍攝牠的臉。牠突然貼近玻璃，不斷舔舐，近到只剩下舌頭和局部臉孔，玻璃上的水氣與舔痕讓牠的形象產生扭曲，看起來既熟悉、滑稽又陌生。那一刻我才意識到，牠的行為某種程度上介入了影像的形成， 牠的身體開始改寫這個介面，不僅重新安排了拍攝與被拍攝者的位置，也鬆動了人與非人生命之間既有的主客關係。

When photographing at the zoo, have there been moments when an animal took over and made the shoot go “Off Script”?

Once, I was standing almost at eye level with a giraffe, photographing its face up close. It suddenly moved toward the glass and began licking it repeatedly, coming so close that all I could see was its tongue and fragments of its face. The condensation and marks left by its tongue distorted its image, making it appear familiar, comical, and unfamiliar. It was then I realised the animal’s behaviour, to some extent, intervened in the making of the image. Its body began to rewrite the interface, not only shifting the positions of photographer and subject, but also unsettling the established relationship between human and non-human life as subject and object.

從凝視到暈眩，貓頭鷹與孔雀如何帶領觀眾進入《歡迎光臨迴旋放送台》？

貓頭鷹與孔雀確實指向兩種不同的觀看狀態。前者以正面凝視回望觀者，後者則以展示性的姿態主動吸引目光。在我的想像中，孔雀的羽屏向外展開，逐漸延伸為整個空間，重複排列的黑白半圓，如同被放大與抽象化的羽毛，形成旋轉、捲動的錯覺。這樣的視覺機制是試圖使觀看超越眼睛所見，轉化為一種失衡而近乎暈眩的身體經驗。

From gaze to vertigo, how do the owl and peacock draw viewers into Welcome to the Spinning Broadcast Station? 

The owl and peacock indeed point to two distinct ways of looking. The former meets the viewer’s gaze at front, while the latter actively draws the eye through its display-like posture. In my imagination, the peacock’s tail fans outward and gradually expands to fill the entire space. Repeated black-and-white semicircles resemble enlarged and abstracted feathers, creating an illusion of rotation and scrolling. This visual mechanism is an attempt to push looking beyond what the eye can see, transforming it into an imbalanced physical experience, almost approaching a sense of vertigo.

當數位修圖可以任意改變動物的身體，哪些部位卻始終難以「操控」？

最難「操控」的是動物的眼神，以及身體所保留的生命感。眼神稍有變動，牠的情緒與性格便可能完全不同，即使被置入不可能的場景，體態與重量仍需保有真實存在的痕跡。也正因如此，動物並非被動的素材，牠原有的視線與身體狀態，也會對構圖提出創作者必須回應的條件。對我來說，數位操控並不是讓一切服從，而是在控制與保留之間持續協商，使影像成為與另一個生命相遇的過程。

When digital retouching allows altering an animal’s body willingly, which parts remain the most difficult to “Manipulate”?

The most difficult to “Manipulate” are an animal’s gaze and the sense of life retained in its body. Even the slightest change in its gaze, its mood and character can change completely. And even when placed in an impossible setting, its posture and weight still need to remain traces of its physical presence. For this reason, animals are not simply passive material. Their original expression of eyes and bodily presence impose conditions on the composition that I, as the artist, have to respond to. For me, digital manipulation is not about making everything submit to my control, but about continually negotiating between control and what to be preserved. In this process, the image becomes a way of encountering another living being.

在《曲線的秘密》中，海浪與滑板場之間有什麼有趣的關係？ 

我將葛飾北齋《神奈川沖浪裏》的浪形與滑板場的坡面並置。作品中的「曲線」不只是形式上的呼應，也像不同能量系統留下的軌跡。海浪呈現自然的力量，浮世繪反映人類如何觀看自然，滑板場則顯示人們如何模仿、控制並消耗能量。作品試著讓觀者在這個明亮、幽默又略帶失衡的場景中，重新思考我們所追求的速度、便利與自由，究竟建立在什麼樣的能源代價之上。

What is the interesting relationship between the waves and the skate park in The Secret of the Curve? 

I placed the wave from Katsushika Hokusai’s The Great Wave off Kanagawa alongside the slopes of a skate park. The “Curve” in the work is not simply a formal correspondence, it also resembles the traces left by different systems of energy. The wave embodies the force of nature, Ukiyo-e reflects how humans look at nature, while the skate park shows how we imitate, control, and expend energy. Through this bright, humorous, and slightly imbalanced scene, the work invites viewers to reconsider the energy costs behind the speed, convenience, and freedom we have come to pursue.

在脫序趣味與嚴肅議題之間，如何找到平衡？

我很喜歡「遊戲之人」、「人的延伸」與「擬像」等概念，也持續從中獲得創作上的啟發。這些概念讓我思考，人如何透過遊戲、媒介與影像重新形塑現實。作品中的荒謬與趣味不是為了減輕議題的重量，而是讓觀者先因好奇而靠近，隨著觀看深入，畫面中的矛盾與不協調則會隨之浮現。脫序是入口，而微笑之後留下的遲疑、不安與反思，才是我在意的平衡。

How to find the balance between playful disorder and serious issues?

I have long been drawn to ideas such as “Homo Ludens”, “The Extensions of Man”, and the “Simulacrum”, and continue to find inspiration in them. These concepts have made me think about how people reshape reality through game, medium, and images. The absurdity and humour in my work are not intended to lessen the weight of these issues. Instead, they make viewers approach out of curiosity, as they look more closely, the contradictions and dissonance within the image gradually emerge. Disorder is the entry point. The hesitation, unease, and reflection that remain after the smile, is the balance that matters to me truly. 

走遍世界各地的動物園後，哪一種動物最讓你著迷？

㺢㹢狓（Okapi）。我第一次看到牠時，真的很難判斷牠究竟像什麼。牠看起來像由不同動物重新組合而成，卻是一個完整而真實的生命。這種既熟悉又難以分類的樣子很吸引我，在我眼中，Okapi本身就是自然完美的蒙太奇。牠的存在提醒著我們：現實未必完全服從人的理解，且自然始終保有超出人類想像與詮釋的部分。

After visiting zoos around the world, which animal has fascinated you the most?

The Okapi. When I first saw one, I genuinely struggled to distinguish what exactly it resembled. It looked as though it had been assembled from different animal. To me, the Okapi is nature’s perfect montage. Its existence reminds us that reality does not necessarily conform entirely to human understanding, and that nature always retains something beyond the reach of our imagination and interpretation.

當相機不再是影像唯一的入口，重新思考「影像」將為創作帶來哪些新的可能？ 

在 AI 的時代，我想進一步探究一種不再必然透過相機載體拍攝而生成的影像。這並不意味著我要離開攝影。相反地，我仍認為攝影術之中有一些美感與精神值得被保留。當影像可以被自由生成，我更關心人們如何辨認、相信與閱讀眼前所見，以及影像的閱讀機制背後可能存在的動態觀察策略。這些問題將會成為我接下來創作的重要方向。

When the camera is not the only entrance, what are the new possibilities that reconceptualizing “images”can bring? 

In the age of AI, I want to further explore images that are no longer necessarily generated through cameras. This does not mean that I am stepping away from photography. On the contrary, I still believe there are certain aesthetic and spiritual qualities within the art of photography that are worth preserving. As images now can be freely generated, I am more concerned with how people recognize, believe in, and read what is in front of them, as well as the dynamic strategies of observation that may lie behind the mechanisms of image-reading. These questions will become an important direction for my future work.