I was there with you 你已被相處了

● 有關創作 // About the work
透過跟蹤隨機選擇的對象，探索公眾場所與個人領域之間所存在的灰色地帶，並以速寫方式作為介入的行為。人們擁有共同權利行走於每個街道與角落，「跟蹤」則成了一個踏進灰色地帶的字眼。如何劃分在公共空間內的私人領域？
利用被跟蹤者的身體作為人體速寫的媒材，在觀察對象同時，可能會比對方自身更留意到一些屬於他們身體部位的細節，以及行走時的習慣。而作人體速寫（練習）最快捷的方法，就是偷畫途人。這裡說是「偷」，因為對方基本上不會知道自己正被畫下來，亦不會看到速寫本內已留下了他們的面相、身體形態、動作。

在客觀行為上，的確是在對方不知情下仔細觀察其身體各部位，甚至將之作以（速寫）紀錄，當中觸及到
「未經對方許可下侵犯其領域」之嫌；但在主觀意識上，卻本無侵犯對方的意圖，且在跟蹤行為後將「作品」「送」給他們，此舉動其實亦會將先前作出的入微觀察（或是含「介入」成份的行為）模糊化。
對象的形象將永遠停留在紙上，而他們和畫者則結下了點到即止的微妙關係一對象被畫者相處了一段時間。

Through following randomly chosen individuals, this work explores the grey zone between public space and private territory, using sketching as an act of quiet intervention.
We all share the right to move through public space, yet the act of “following” slips into an ambiguous terrain—where does the public end, and the private begin?
Using the bodies of the followed as material for figure sketches, I observed them closely—perhaps more carefully than they ever would themselves. Quick sketching becomes an act of secrecy: they never know they are being drawn, nor that their gestures and movements now inhabit the pages.
Though the act involves observing without consent, it is not meant as violation. After each encounter, I would gift the drawings to those I had followed—a gesture that blurs the trace of intrusion.
Their images remain on paper, suspended in time, while a fleeting, one-sided relationship lingers—one in which the subject has, in a sense, been lived with by the artist.

● 有關人像速寫 // About Portrait sketching
人像速寫比起專注的寫生繪畫，或能更直接表現人的狀態一但不僅是對方的，還有畫者的內心狀態。
觀察一個人的神態、肢體動作、行為，是速寫前的首要條件，但所「看」之對象是快樂、憂傷，抑或放空狀態，很多時候也來自於畫者主觀意識所投射而成，基本上不存在完全代入對方的狀態，或能將之理解為所謂「同理心」（Empathy），繼而轉化為包含個人想像的表現，而對方則成了畫者想像的載體。

Compared to focused studio drawing, quick sketching captures human presence more instinctively—revealing not only the sitter, but the artist.
To observe a face or gesture is to project one’s own state onto another. Empathy, if it exists at all, is a form of imagination; each sketch becomes the artist’s imagined trace of another life.

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