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我像個二流的喜劇演員

燃起一根火光微弱的蠟燭

卻只能照見自身

睡著時做荒涼的夢

醒來時常想自己為何仍活

李豪(2019)。《瘦骨嶙峋的愛》,章節「當光照在我身上我只想退到黑暗」。台灣:采實文化。

in the m i d n i g h t 
凌晨時分

Solo Exhibition of Yuen Lai Yi,

Yrellag Gallery, Hong Kong

零時後至天空完全變亮的時間很曖昧,也許是因為無法歸類清晨與夜晚才誕生出凌晨吧?當精神集中於清晨,繼而萎靡,剩下給凌晨的時間的是混濁的。然而,凌晨時分卻是真正屬於自己的獨處時間,有意識地逃避無意識的動作,在狹縫裏嘗試梳理存在的意義,剖析及記錄載浮載沉的時間。

 

《凌晨時分》是一場與自我的對話。當時間被分割,安放各項事情,時間之於我們似乎不再僅是客觀的數字,而是擁有了主觀的,以個人投射所感受的歷程。它建構了其意義,成為有質感的時刻。遊走於自我、關係、抉擇和時間的思緒中,由思緒之縈繞,在一天之閾限,進入一個凌晨的旅程。

Time between 0 o’clock and dawn is ambiguous. Perhaps its existence is beyond the boundary of day and night, and therefore presenting itself as an individual. When the spirit and body have to be devoted during the day, gradually becoming sluggish and dazed at night-time. The only left for midnight, the time you are still awake, is muddy yet precious. Consciously escape from unconscious actions, trying to sort out the meaning of existence through the crack, analyze and record the up-and-down of myself.

 

When we split the time and fill it with different purposes, time seems no longer to be an objective number, but a subjective duration experienced with personal projection. To us, it constructs its meanings, a time with texture of its own. Narrating flowing thought about self, relation, decision and time, it merge into a journey in the midnight, an interval of a day, and a time for thoughts.

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