In the returning gaze of imagery, the reading of language never transcends a silent gaze.
The display of imagery allows reality — moments that have passed — to reappear before one’s eyes. This version of reality, however, is never the same as what happened before the camera lens. What exists between the past and the present, when captured by the lens, becomes a subject for contemporary art that is explained and interpreted through text, in order to establish a legitimate connection with the viewer. A work of imagery then becomes contextualized for viewing and exhibition purposes. This is when imagery loses its prerogative to exist on its own, while text — be it artist statement or curatorial — bestows superfluous meaning upon the imagery. But it has been forgotten that only when imagery stands on its own, without text, does it speak volumes.
How does imagery speak to the viewer? Perhaps through this imaginary fissure which allows the moving image to segue between the viewer’s observation and perception. The exhibition Returning Sight — The Fissures of Moving Image attempts to take imagery out of its normal context, beckoning the viewer to explore it, free from symbolism, descriptive influences, and narrative influences. The reappearance of imagery is investigated through the works of Machine Whisper (2015) by WU I-YEH, The Presence of Silence by HOU I-Ting, Scenery Other End by TSENG Yu-Chin, Ten Minutes Left by NIU Chun-Chiang, and The Island by LIN Guan-Ming. The instinctive nature of these artists’ image aesthetics changes viewers’ perception of time in each individual work, where imagery reclaims its fundamental right to exist on its own, making the invisible visible, and silence heard.