@SIXPENCENDMOON
yutori sedai



Information 一般資訊
Email 歡迎連線
Instagram 正經八百
News


 - 2026

Selected

  1. To those of us who cannot dream any more 少年維特沒有煩惱
  2. A girl called Marta 瑪爾塔女孩
  3. Nowhere near 無人發現的附近
  4. Archive 01 部分影像的收集
  5. Path to pasts腦海中
  6. Anonymous 01 
  7. Anonymous 02


01



Project Name
To those of  us who cannot dream anymore 少年維特沒有煩惱
Publisher: 一



火燒雲的日落
在夜明前
一切都是騙人的
噗通！

少年維持著煩惱 
流淌在血液裡的沈默
種子和向日葵

 







Not long after I arrived in New York City from China, I found myself caught between two states of mind. On the one hand, I felt adrift, unanchored, and enveloped by a vague sense of waiting—without knowing what I was waiting for. Sometimes I couldn’t even bring myself to leave my bedroom. On the other hand, I knew that the only way to find some personal resolution for my feelings was to step out into the real world.

This constant tension—between embracing the new and being held back by old fears—became the starting point for the photographs in To those of us who cannot dream anymore. I asked myself how I could translate such complexity into images. I realized that my own bedroom had become a symbol of psychological retreat, while the outside world was both a place of both potential growth and confrontation. In making these photographs, I began to reconstruct my relationship to these inner and outer worlds. The resulting photographs capture moments of small, specific emotional states—feeling caught by the sudden strike of sunlight, an overwhelming wave of anxiety when nothing particularly has gone wrong, or the contrasting tension of stepping into a world that feels at once inviting and intimidating. These experiences are deeply internal and rarely visible to others, but they have shaped who I am in this moment.

To represent this dichotomy, I created the project’sphotographs in both staged and spontaneous ways. Sometimes I planned actions or chose settings; at other times, I let chance and improvisation guide me. This process allowed me to simulate both the controllable and uncontrollable aspects of life, reflecting how we navigate what we can manage and what simply happens to us. For example, I set the camera on a tripod and moved through the frame myself, allowing the resulting blur to express moments of hesitation or transformation. Through this work, I want viewers to feel my attitude towards these forces: we may be silent, but we are still capable of resolving or accepting them.

In To those of us who cannot dream anymore, I use my own body as the primary subject. I’m not trying to perform a role for others; instead, it’s about gestures—how I sit, move, pause, or look. Standing still might convey a sense of submission or introspection, while moving loosely through the frame suggests resistance.  By using my body in this way, I transform everyday gestures into my own language. It is a way of using the body freely in a space where people usually think I should be passive or invisible. It’s about claiming the space to breathe—a quiet rebellion against powerlessness, and an honest way of existing.

我剛從中國來到紐約不久，便發現自己陷入兩種心境之間的拉扯。一方面，我感到漂浮不定、無所依附，被一種模糊的等待感包圍著，卻說不清自己究竟在等待什麼。有時，我甚至連走出臥室的力氣都沒有。另一方面，我又清楚地知道，唯有走入現實世界，我才能為這些感受找到某種屬於自己的出口。

這種持續存在的張力——介於擁抱新的生活與被舊有恐懼牽制之間——成為少年维特没有烦恼這組作品的起點。我不斷問自己，該如何將如此複雜的心理狀態轉化為影像。我逐漸意識到，自己的臥室已成為一個心理退縮的象徵，而外部世界則同時意味著成長的可能與必須面對的對抗。在創作這些照片的過程中，我開始重新建構自己與內在世界及外在世界之間的關係。最終呈現出的影像，捕捉的是一些細微而具體的情緒狀態——例如，被突如其來灑落的陽光所擊中；在一切看似並無異樣時，卻忽然湧上的強烈焦慮；或是踏入一個既令人嚮往又令人畏懼的世界時，那種矛盾而緊繃的感受。這些經驗高度內在，往往不為他人所見，卻深刻地形塑了此刻的我。

為了呈現這種二元性，我以既擺拍又即興的方式完成這個計畫的影像。有時，我會預先設計動作或選擇場景；有時，則讓偶然與即興引導拍攝的走向。這樣的創作方式，使我得以模擬生命中可控與不可控的層面，反映我們如何在能夠掌握的事物，與那些只能發生在我們身上的事情之間穿梭。例如，我將相機架在腳架上，讓自己在畫面中移動，並透過產生的模糊影像來表達猶豫或轉變的瞬間。透過這些作品，我希望觀者能感受到我面對這些力量時的態度：即使我們沉默，仍然有能力去化解它們，或選擇接受它們。

在少年维特没有烦恼中，我以自己的身體作為主要的拍攝對象。我並不是在為他人扮演某個角色，而是關注姿態本身——我如何坐著、移動、停頓，或凝視。靜止不動，可能傳達出一種順從或內省；而在畫面中自由移動，則暗示著某種抵抗。透過這樣使用自己的身體，我將日常的姿態轉化為屬於自己的語言。這是一種在他人往往期待我保持被動或隱形的空間中，重新使用身體的方式——一種為自己爭取呼吸的空間，是對無力感的安靜反抗，也是誠實地存在於世界中的方法。



困在澤西公寓的冬天

     



























©2046 sixpencendmoon