趙 品函 ZHAO, PIN HAN
末 日 之 愛
先說到《末日之愛》的局部，在影像的部份並不是攝影，而是錄像。若是當攝影展現在觀者面前時，觀者會產生，我在此作之外的時間概念，如同觀看瞬間凝結的琥珀化石;當錄像展現在觀者面前時，觀者即會察覺，有一條時間線在前進或是後退，這是多數的影像展演方式（如具有敘事元素），但《末日之愛》的局部沒有任何故事、劇本或是敘事，甚至逃避能夠讓觀者產生情緒或想法的任何元素，例如：激起的浪花。再加上固定靜止的鏡頭，觀者可以隨時加入此作，也不會產生斷層。因此，基於主體對錄像的習慣性想像，期待敘事的出現成為了身體的本能反應，但沒有敘事的發生是客體事實，觀者被陷入盒子裡的空間情境與光亮到刺眼的純白空間，習慣於文明社會豐富多元景觀刺激的主體，將急於抓取任何可讀性符號，基於這些物理事實，主體產生焦慮感是必然反應。
再談到《 末日之愛》的物件呈現，令人愉快的，大量的白色鵝卵石充斥著整個地面，呈現單純統一的美感經驗，規矩著海洋系統的自然排列，當主體正預備著想像這些鵝卵石的來源與故事，卻會發現這唯一可讀的物體，產生存有物事實與外觀的分裂狀態。
《 末日之愛》是一件具有反身性思考的作品，沈重的大海像鬼魂一樣虛幻。應該堅硬的石頭，卻是一捏即碎的保麗龍。作為影像卻反敘事與時間軸，作為視覺藝術卻反叛視覺。
《The end of love》The image is not a still photograph, it is a video. When watching a photograph, people have a perception of time: I am in a temporal circumstance outside of this photo, as if watching fossils trapped in amber; If we are watching a video, there is a perception of time: I am in a temporal circumstance outside of this video but there is a time line moving. The majority of video is displayed in this way (if the video has a narrative), however in《The end of love》there is no story or narrative, not even a spindrift. The video's scene is frozen so the audiences can engage with this video.
Therefore, this work is based on the audience’s inertial concept of videos. The audience will feel unsettled with the video within the white cube space, being from a
generation used to encountering intense visual stimulation.
Further, the object displayed in《The end of love》comprise numerous white and beautiful rocks covering the floor, but audience will discover that those rocks which feel like natural objects are in fact polyfoam.
《The end of love》is a work with conceptual reflexivity; the original sea should be heavy but this sea is light like a ghost; the original rocks should be hard but those rocks are fragile polyfoam; The video should be have a time-line but it doesn't.