韋伯曾言，人是懸掛在自己編織的意義之網上的動物。過去一年，我遊走於兩岸三地，選擇以35mm焦段——這種最接近人類直覺的視角，去捕捉那些編織「秩序」的無形絲線。

秩序往往是隱形的，直到它被視覺化。從街頭列隊的保潔員到候車室裡沉默的群眾，個體在職業、身份與空間的規範下聚合，呈現出一種機械式的、甚至近乎自然的隱秘律動。在固定視野中，人與空間的比例被定格在「不疏離、不介入」的臨界點，這是我與世界保持的安全距離，也是冷靜觀察的起點。

在這些看似有序的聚合中，始終隱含著個體認同的離散與迷失。我將這份圖集視為對社會景觀的切片記錄，更是我作為觀察者，在群體共鳴與個體疏離之間，對於自我身份與歸屬感的一次漫長追尋。

Weber once said that man is an animal suspended in webs of meaning he himself has spun. Over the past year, I wandered across Mainland China, Hong Kong, and Taiwan, choosing the 35mm focal length—closest to human intuition—to capture the invisible threads that weave “order.”

Order is often invisible until it is visualized. From street cleaners lined up in formation to silent crowds in waiting rooms, individuals converge under the norms of profession, identity, and space, presenting a mechanical, almost natural hidden rhythm. Within a fixed frame, the proportion between people and space is frozen at the threshold of “neither alienated nor intervening.” This is the safe distance I maintain with the world, and the starting point of calm observation.

Yet within these seemingly orderly gatherings, there always lies the dispersal and disorientation of individual identity. I regard this collection as a slice of the social landscape, but also as my own long pursuit of self-identity and belonging—an observer navigating between collective resonance and individual estrangement.

維多利亞港不只是明信片上的全球化符號，更是一處由社會張力交織集體記憶而成的複雜場域。在這片被高度規劃的空間裡，秩序與流動並存，宏大敘事和個體生存若即若離。

這一輯影像試圖剝離刻板的繁華，在兩岸的對立交匯中捕捉空間的真實與隱喻。

我不願停留於視覺的奇觀，而是透過鏡頭去解析這座城市如何在流動中承載多重敘事，折射出它在繁複景觀背後的深沉與厚度。

Beyond the globalized image on postcards, Victoria Harbour exists as a contested space shaped by collective memories and social forces. It is a highly structured environment where order meets fluidity, and where the city’s grand narrative drifts alongside the realities of individual survival.

This series aims to peel back the layers of superficial brilliance, capturing the truth and metaphors hidden between the opposing yet intersecting shores.

Rather than capturing visual spectacles, I use my lens to explore how this city carries diverse narratives through its constant motion, revealing the deep, enduring pulse behind the chaotic landscape.

在這組照片中，我有意模糊人物作為主體，將人置於廣闊的環境之間，以此探討個體與空間的關係。影像的背景是我曾生活的地方，它試圖超越個人日常的敘事，呈現一種在地性的觀察，並嘗試透過影像與周遭的人事物建立隱秘的聯結。

拍攝始於2020年末，止於2023年中旬，橫跨了從歸屬感尚未生成的陌生，到學業壓力漸增的緊張，再到高中畢業的告別。三年間，我常在學校的周圍遊蕩，用傻瓜機記錄下看似平凡的片段。對我而言，這不僅是一種自我調節的方式，更是一種反身性的實踐——透過影像凝視自己的處境，試圖在碎片化的記錄中與環境沉默地對話。既是個體經驗的映射，也是對更大敘事的探尋。

In this series of photographs, I deliberately blur the subjectivity of the figures, placing people within expansive environments to explore the relationship between the individual and space. The background of the images is where I once lived; it attempts to transcend personal everyday narratives, presenting a form of localized observation while seeking to establish hidden connections with the surrounding people, objects, and events through imagery.

The shooting began at the end of 2020 and concluded in mid-2023, spanning a journey from the unfamiliarity of lacking a sense of belonging, to the growing tension of academic pressure, and finally to the farewell of high school graduation. Over these three years, I often wandered around the school, using a point-and-shoot camera to record seemingly ordinary fragments. For me, this was not only a way of self-regulation but also a reflexive practice—gazing at my own situation through images, attempting to engage in a silent dialogue with the environment within fragmented records. It is both a reflection of individual experience and a search for broader narratives.