本次展覽展出之六件作品，多數選自黃得餘持續進行中的《Far and Near》系列。該系列以日常景象為主要取材對象，從光線、距離、色彩與表面細節之間的細微關係出發，透過直覺性的視覺捕捉，回應更深層的情緒感知與內在狀態。
相較於較早期帶有強烈凝視感的黑白靜物影像，《Far and Near》中的彩色攝影呈現出另一種觀看方式的轉向。畫面由較為深刻、集中且帶有存在提問意味的視覺語言，逐漸轉向更溫柔、疏遠、若即若離，卻又緩慢靠近的感知狀態。這些作品不以敘事性事件為核心，而是在日常景象之中，留下情感、身份與生活方向逐漸轉變時，那些難以言說卻持續存在的痕跡。
此系列的發展歷程，也對應藝術家在關係經驗、工作狀態與自我定位上的變化。那些不確定、矛盾、遲疑與靠近，並未被直接陳述，而是以更安靜、含蓄的方式滲入畫面之中，成為《所見－未見》此次展覽的重要背景脈絡。
Of the six works presented in this exhibition, most are selected from Huang De Yu’s ongoing series Far and Near. Taking everyday scenes as its primary subject matter, the series begins with subtle relationships between light, distance, color, and surface detail, using intuitive visual observation to respond to deeper emotional perception and inner states.
Compared to his earlier black-and-white still life works, which carried a stronger and more concentrated gaze, the color photography in Far and Near marks a shift toward another way of seeing. The visual language gradually moves away from a mode shaped by existential inquiry, and turns instead toward a sensibility that is gentler, more distant, and quietly ambiguous, holding a distance from the world while slowly drawing close again. These works do not center on explicit events or narratives, but preserve within ordinary scenes those traces that remain difficult to articulate, yet continue to emerge through emotional, personal, and existential transition.
The development of this series also corresponds to changes in the artist’s relational experience, working condition, and sense of self-positioning. Feelings of uncertainty, contradiction, hesitation, and gradual closeness are not directly stated, but permeate the images in a quieter and more restrained way, forming an important contextual layer of Seen—Unseen.
《所見—未見》展場紀錄照其一
《Seen—Unseen》Installation View _ Part 1
《所見—未見》展場紀錄照其二
《Seen—Unseen》Installation View _ Part 2
《所見—未見》佈展花絮
《Seen—Unseen》Behind-the-scenes Clip
