In Hualien, I lived with the sunrise, but never the sunset. In Tainan, the reverse unfolded. The same sun, across shifting spaces and times, returns in quiet recurrence.
Parhelion
2022, Process-based work structured by the movement of a cement-painted board from Hualien to Tainan, 180×180cm
05. March. 2022 (Set.) Awakening of Insects
Bâ-bū-á-kng Daybreak
07:00–08:00
NDHU National Dong Hwa University, Hualien
Àm-bûn-á-kng Twilight
17:00–18:00
TNNUA Tainan National University of the Arts, Tainan
In a day’s round trip, I bring Tainan’s sunset to meet the sunrise in Hualien, and then bring Hualien’s sunrise to meet the sunset in Tainan.
Sketching in December 2021
2021, Poster Colour on Arches, 75×50mm, 15 in total
The first sunset in 2022
2022, Poster Colour on Arches, 75×50mm, 9 in total
To distinguish between two identical suns, I began to let the sun respond to my position.
Throughout December evenings, I collected the colours of sunsets at TNNUA: on the rooftop of the Graduate Institute, along the hillside beside the dormitory, at the workshop, by the Wushantou Reservoir, and along the road towards Shanhua. Moving along my daily route, I translated each sunset, under shifting weather and fading light, into hand-mixed colour studies.
Over the course of a month, guided by imprecise time and unstable conditions, I relied on my own perception and pigments to register these changes. The act of measurement remained knowingly inaccurate.
This persistent deviation forms a mirage between myself and the real sun, a relation held without articulation.
Parhelion, 2022, Process-based work structured by the movement of a cement-painted board from Hualien to Tainan, 180×180cm
Sketching in December 2021, 2021, Poster Colour on Arches, 75×50mm, 15 in total
The first sunset in 2022, 2022, Poster Colour on Arches, 75×50mm, 9 in total