〈敘事時間〉由十一個組件構成，緣於思考已發生活動和相關主觀記憶。不斷變化的經驗、知識、信念或信仰會影響記憶，使之中的內容被重塑、合理化或浪漫化。時間和遺忘機制使回憶出現遺漏，於是記憶和遺忘處於一種永久辯證及無意識形變。在產生過往經歷是否真實及照片能否證明真實的疑問後，我開啟以製作圖像／物件及拼貼它們為主要方法的實踐。

 

各組件由紀實照片和摺紙影像構成以嘗試新的說故事技巧。挑選並展現作為生活及經歷證據的紀實照片本身就是主觀的敘事實踐，而製作摺紙影像的過程則是回憶、重拾記憶或甚至重新想像的隱喻。兩者在形態或概念上具有相似或相關聯之處，但仍具有明顯的差異和分離感；以此表示紀實和記憶在某些意義上有所不同，並暗示回憶及再建構的當下是植根於絕不客觀的自我傳記。

 

摺紙材料的圖案及摺紙影像的模糊背景是一件油畫舊作的局部圖，而該作亦是對於記憶中經歷及經驗的觀察和反思。油畫作品在轉化為數位影像後，被擷取及再運用；這除了意味著重思生活與藝術創作的循環，亦是拆解並重構過往主觀敘事的暗示。當摺紙影像及紀實照片拼貼在一起，形成的組合詮釋不斷變化的主體性對於已發生的特定活動所製作出的異貌敘事。

 

這種製作圖像／物件及拼貼它們的方法使得不同時間／時間性變得明顯，而此敘事功能則得具有形成、肯定和維持自我認知及特定回憶的概念。各組件分離但其橫向中線間接地串聯在一起，以展現回憶及反思活動的間歇性和數個記憶的集體關係及連續性。中線上下方圖像的比例不同使得整體看起來像波浪，得以是證據及回憶和重新捕捉及重新想像事物之間的振盪。

 

於這種節選、製作及編排圖像的拼貼實踐，圖像是個人經歷的投射和傳播。這些經歷在不同時間點上產生不固定及獨特兼具的性質，包含主體存在於流動時間中的思考，圖像內容亦涉及對於特定群體文化和其在日常生活中各種表現的審視。圖像是一種輔助推測和自我質疑的工具，而拼貼是一種視覺化及重建創造性悖論的方法。

 

Narrative Time consists of eleven components, from thinking about past activities and related subjective memories. Changing experiences, knowledge, beliefs, or faith can influence memories, causing their contents to be reshaped, rationalised, or romanticised. The mechanisms of time and forgetting cause omissions in memories, so memory and forgetting are in a permanent dialectical and unconscious transformation. After questioning whether past experiences were real and whether photographs could prove the truth, I began making images/objects and collaging them as the primary method.

 

The components comprise my documentary photographs and origami images to experiment with new storytelling techniques. While selecting and presenting documentary photographs as evidence of life and experience is a subjective narrative practice, making origami images is a metaphor for recalling, recollecting memories, or even reimagining. The two have similarities or connections in form or concept but still have apparent differences and separation; this indicates that documentary and memory are different in some senses and implies that the present of recollection and reconstruction is implanted and rooted in an autobiography that is anything but objective.

 

The patterns of origami materials and the blurred backgrounds of origami images are partial views of my old oil paintings. These are also observations and reflections on the experiences and perceptions in memory. After being converted into digital images, the oil paintings are captured and reused; this not only means rethinking the cycle of life and artistic creation but also implies the dismantling and reconstructing of past subjective narratives. When origami images and documentary photographs are collaged, the resulting combination interprets the changing subjectivity that produces a different narrative about a specific event that has occurred.

 

This method of making images/objects and collaging them makes different times/temporalities apparent. At the same time, the narrative function has to have the concept of forming, affirming, and maintaining self-perception and specific memories. The components are separated but connected conceptually by their horizontal midlines; they show the intermittent nature of recollection and reflection activities, the collective relationship, and the continuity of several memories. The different proportions of the image above and below the centre line make the whole look like a wave, an oscillation between evidence and memory and recapture and re-imagination of things.

 

In this collage practice of selecting, producing, and arranging images, images project and disseminate personal experiences. These experiences have both fluid and unique qualities at different points, including the subject's reflections on the existence of flowing time. The image content also involves an examination of the culture of a specific group and its various manifestations in daily life. The image is a tool to aid speculation and self-questioning, while collage is a method to visualise and reconstruct creative paradoxes.

 

In Narrative Time, whether it is the direct use of documentary images or the production and use of origami, they all have a meaning similar to nostalgia, especially nostalgia for the good old days. The images/objects and artworks used are entangled with the ghosts of the past, becoming a channel to and from the present and non-present when they are produced and appreciated. Origami seems based on the sense of déjà vu generated by documentary photographs; nevertheless, this practice attempts to innovate perspectives and collage techniques by calling upon the past.

 

I aim to revisit old textures and perceptual worlds using tools and techniques that have evolved to a certain extent in the 21st century to expand the possibilities of collage ideas and concepts. I use known collage techniques, the long-standing origami culture, and the ever-improving and widely available computer software and printers to reflect on current and past experiences and perceptions. These practices, results, and reflections serve as valuable references for future endeavours, acting as catalysts for progress, innovation, and untapped potential.