藝術家Artist
丹尼爾˙帕特森Daniel Paterson
藝術家簡介Artist Profile
來自加拿大多倫多，曾在蒙特婁協和大學學習攝影。他以鏡頭創作影像，使用暗箱、黑影照片、大片幅相機等裝置。他的影像把攝影過程縮減為光在物質表面上的累積。丹尼爾曾於加拿大、美國、瑞典展出作品，曾在蒙特婁與魁北克參與協和大學的畢業生駐村計畫，也贏得瑞典哥得蘭島的布魯斯伯夏季駐村獎學金。自2011年，丹尼爾與貝拉．克雷恩（Bella Klein）共同合作拖車暗箱（Trailer Obscura），把一台移車的拖車變成移動攝影機，走遍加拿大美國，透過針孔鏡頭記錄景觀。(Portrait Photo by Rich Matheson)
Daniel Paterson is from Toronto, Canada he studied photography at Concordia University in Montreal. He creates lens-based images and installations using camera obscuras, photograms, and large format cameras. His images reduce the photographic process to the accumulation of light on a material surface. Daniel has exhibited work in Canada, the United States, and Sweden. He has participated in the Concordia graduate residency in Montreal, Quebec and The Brucebo Summer Residency Scholarship in Gotland, Sweden. Since 2011 Daniel has collaborated with Bella Klein on Trailer Obscura, together they converted a car utility trailer into a mobile camera and traveled throughout Canada and the United States documenting the landscape through a pinhole lens.
創作論述Work Text
「光之人，煦若射。下者之人也高，高者之人也下。足蔽下光，故成景於上；首蔽上光，故成景於下。在遠近有端與於光，故景庫內也。」展覽名稱以史上最早的暗箱文字記錄命名，取自中 國哲學家墨子約於西元前388年對暗箱的描述。一直到1839年攝影成像技術問世，超越了古代的觀察，把攝影圖像從電腦螢幕或印刷品上延伸至針孔投影。才讓相機裡稍縱即逝的光影開始可以被固定在底片上亦或是錄製成影像。
《景庫》概念將以錄影、攝影等媒材多元詮釋與形勢轉變，呈現出蕭壠多樣性的光影變化與繽紛景觀，跳脫傳統攝影的形式與束縛﹐讓您體驗既在室內，亦在戶外的創作表現手法。(Photo by Daniel Paterson and Rich Matheson)
Perspective House examines the place of Soulangh through spacial interventions of industrial spaces within the park. Train cars, rooms and a house imbedded within the SAV landscape have been transformed into site-specific camera obscuras. The exhibition has taken its title from the first written record describing the camera obscura by Han Chinese philosopher Mozi, in circa 388BCE. The ancient observations extend photographic history beyond its ”invention”in 1839 and expand the photographic image from a computer screen or prints to include the projection from a pinhole. The ephemeral light projection from inside the cameras has been fixed onto film and recorded with video. The light installations present a fragmented plural view of the landscape which is simultaneously interior and exterior space. Perspective House addresses place, the changing landscape of SAV, methods of recording and the history of the photographic medium.