近而未至 If it comes near
《近而未至》試圖捕捉的，不是戰爭本身，而是它尚未到來、卻已深刻改變人心與語言的過渡時刻——在說話之前、逃離之前、尚未完全理解之前。也許正是這些無法命名的經驗，構成了人們真實而靜默的生活。展覽透過影像、書寫與物件的佈局，將視線從政治與歷史移轉至個體的心理狀態，並提出一個觀看的提問：當語言尚未完整、理解尚未形成時，我們如何接近彼此？
作品拍攝於2025年緬甸仰光郊區的一座蛋糕工廠，由我父親經營。自我五歲起，我便時常隨他往返於緬甸與台灣之間。隨著內戰持續蔓延，每次返鄉都懸著「是否還能再回來」的疑問。於是我選擇在工廠生活兩個月，與工人們長時間相處，嘗試理解在緊繃局勢下，不同族群與背景的勞動者如何面對不確定的日常，以及他們以平靜、習慣、謹慎與沈默所構成的另一種對戰爭的回應樣貌。工廠內，是麵粉、奶油與收銀機的聲響，工廠外，則是仍未停歇的戰火。
If It Comes Near
If It Comes Near seeks not to portray war itself, but to capture the moment before itarrives—when it has already begun to reshape hearts and language. It lingers in the spacebefore speaking, before fleeing, before full comprehension. Perhaps it is precisely these unnamed experiences that make up the quiet reality of everyday life. Through an arrangement of video, writing, and objects, the exhibition shifts focus from politics and history to individual psychological states, posing the question: how do we approach one another when language is incomplete and understanding has yet to form?
Filmed in 2025 at a cake factory on the outskirts of Yangon, Myanmar, run by my father, the work stems from my own history of traveling between Myanmar and Taiwan since the age of five. As the civil war intensified, each return carried the uncertainty of whether it might be the last. I chose to live in the factory for two months, spending time with the workers to understand how people from different ethnicities and backgrounds respond to precarious routines. In their calm, habitual, cautious silences, another kind of response to war emerges. Inside the factory—flour, butter, the sound of a cash register; outside—unrelenting conflict.
展覽由八支訪談錄像與裝置組成，無說明性旁白，也無補述畫面。影像中出現的是工廠員工，他們不是代表，也不是演員，只是在鏡頭前如實說出每天怎麼過、怎麼想、害怕什麼、夢見什麼。有人語速緩慢，有人說到一半停住，有人念著佛經，也有人相信戰火不會來。他們的語言平實卻沉重，揭示了在持續不穩定的生活條件中，對異常逐漸習慣的主體以及長時間的自我調節。
受訪者多數年齡介於17至30歲，有些從少年時就在工廠工作，有些則在此成家、生子。他們談論愛情、家庭、信仰、生死、經濟與選擇——有人說如果工廠關了，就聽老闆的安排；有人夢見自己在別處說中文；有人說：「這裡像家，但不是我的家。」
The exhibition is composed of eight interview-based video works alongside an installation. There is no explanatory voice-over, no contextualizing imagery, and no didactic framing. What appears on screen are factory workers. They do not stand in as representatives, nor do they perform as actors. They speak, simply and directly, about how each day unfolds—how they endure it, what they think about, what they fear, and what enters their dreams.
Some speak slowly; some stop mid-sentence, as if measuring what can be said. One recites Buddhist sutras. Another insists the war will not arrive. Their words remain restrained, almost ordinary, yet carry a quiet weight. Within prolonged instability, the abnormal becomes daily texture. What emerges is not dramatic testimony, but the subtle formation of subjects who adapt, recalibrate, and sustain themselves through extended conditions of uncertainty.
Most of the interviewees are between seventeen and thirty years old. Some began working in the factory as teenagers; some have formed families and raised children within its walls. They speak of love, kinship, faith, life and death, income, and the limited architecture of choice. One says that if the factory closes, they will follow the employer’s arrangement. Another dreams of speaking Chinese somewhere else. One reflects: “This place is like home, but it is not my home.”
《餘波》Solitary Wave｜ 2025｜劇情短片
故事發生在緬甸一間糕點工廠。戰火逐漸逼近，遠方傳來爆炸聲，電力供應開始不穩定。工廠裡的工人被要求投票，決定是留下繼續工作，或離開避難。影片並未呈現戰場畫面，而是停留在暴力尚未真正抵達之前的心理狀態。在不確定持續蔓延的情境中，日常仍然運作，生產仍然進行。透過克制的影像語言與由真實工人參與的表演，《餘波》關注的是個體在結構性壓力之下的選擇、猶疑與集體處境。這是一部關於「尚未發生之事」的電影。它描繪的不是爆發瞬間，而是歷史逼近時，無聲擴散的心理震動。
Solitary Wave (餘波)2025｜Short Film
Set inside a pastry factory in Myanmar during a time of escalating conflict, Solitary Wave unfolds on the edge of an unseen war.
As distant explosions grow closer and electricity becomes unstable, the workers are asked to vote: stay, or leave.The film does not depict the battlefield. Instead, it observes the suspended psychological state before violence fully arrives — a condition in which daily routines continue under the weight of uncertainty.
Through restrained cinematography and performances drawn from real factory workers, the film explores choice, agency, and collective vulnerability within a confined space.Rather than focusing on spectacle, Solitary Wave examines the subtle shifts in speech, silence, and gesture that occur when history approaches but has not yet erupted.
It is a film about anticipation, fragile autonomy, and the quiet aftershocks that ripple through ordinary lives.
