The Grass is Bluer
by the Sea
by Lee Chi-leung 李智良
攝影實驗刊物
全書32頁，黑白攝影
Exist Random Press 出版
尺寸為 24 x 18 cm
限量印刷 200本
“If pictures tell us anything, it only tells the insurmountable distance between the camera and what is photographed. The gaze is always a lack. The world that seduces the gaze is a Trompe-l'œil. The Grass is Bluer by the Sea feigns no stories or humanist connection. And if we can't tell a concrete wall from a beach, a flower from a face, or representations from lives that's because we swoon and fell asunder, as we are being unborn in permanent dispossession, in exorbitant speed.
The sad truth is that we are long disembodied by technologies of surveillance and an all-seeing culture that punishes us with mere appearances, the more we see the less we would relate, and everyone is nobody's anybody. My pictures are first and foremost accidental, like a remnant vision of somebody who tries to look awry in the near-automatic movements dictated by the capitalistic destruction of places and subjects. But there won't be a fathomable “we” unless perhaps, in a language yet to come.”
Lee Chi-leung. 2018
「如果照片能告訴我們甚麼，它只說明照相機與被攝的一切之間那無可跨越的距離。凝視永遠緣於匱乏，誘惑此種凝視的『世界』亦不過障眼的陷阱。《海邊草更藍》並不佯裝「故事」或人文主義式「連結」，假如我們無法辯別一堵石屎牆與沙灘、一朵花與一張臉或是再現與生命之分別，那是因為我們在持續永恆的被剝奪，亢奮的速度中，昏暈，陷落破敗。
可悲的是，我們早已被高舉外表一切的監控技術與全視野文化剝奪了肉身；我們愈看見更多卻愈無法與人連結，誰都不是誰的任何人。我的照片到底不過是意外獲得，如像在資本主義對地方與主體日復日的毀滅，其近乎自動行進的移行之間斜眼看見的殘象。但『我們』唯有在將臨的語言中方可想像。」
李智良，2018。