Page 197 - 第20屆大墩美展專輯電子書

Juror’s Statement, Photography Category HUANG Chia-Sen

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For this year's 21 Da Dun Fine Arts Exhibition of Taichung City, there were five jurors for the Photography category: CHIANG
Tsun-Hsiung, CHUNG Yung-Ho, KAO Chih-Tsun, CHAO Shu-Ren, and HUANG Chia-Sen. A total of 568 works were submitted,

including 11 foreign artists: one each from China, Singapore, Thailand, Serbia, Ukraine and Nicaragua, plus five from India. During
the preliminary selection stage, 46 works were nominated, including the submission from Serbia, and in the fi nal selection, 46 works
earned prizes and recognition (top three prizes, five awards of merit and 38 short-listed works) with the Serbian work being short-

listed.

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Overall, photography submissions for the 21 Da Dun Fine Arts Exhibition has four features: (1) salon photography and
photographic society event works, which were easier to be eliminated; (2) deeper interpretations of depth; (3) various styles such as
documentary, mental image, and surreal photography; and (4) increasing submissions of photo collage.

I'd like to make few comments regarding the photographic prize winners:

The First Prize winning work,“The Last Sight of a Mud-Brick Kiln” captures a declining industry, the kiln industry in

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Zhejiang, China. Based on this rare theme, a sense of nostalgia is added to the working atmosphere to properly capture the scene.

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Second Prize went to“Stand” which employs an interesting combination of an upper part of a statue and real human legs to

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accomplish surreal effects. Third Prize winner“Artists and Audiences”aithfully records the decisive moment when artists, regardless
of a small audience, still give their best while performing, in this case for at a remote tribe to a group of fully attentive children.
An Award of Merit went to“Waiting for a Person” which uses nine-pane broken windows as well as scenes outside the
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four-pane broken windows to depict people's encounters, expectations and companions.“Sprint”captures the scene of an event

for children organized by Nantou Caotun's Irrigation Association, showcasing the kids' fearlessness while having fun in the mud.
“Phubbers” compares the poster of a pretty lady in Tokyo to a young man only paying attention to a cell phone, indicating that the

charisma of the phone is greater than that of a beautiful woman.“The Way of the Heart”uses intricate fences to construct a human
being's mind map, as three passengers in the corner expect to break through the barricades and head toward success. “Rare Visitors
Visit”sharply captures the after-school moment in a remote Laotian school, as children curiously peek at a foreign visitors through

the gaps in a wooden door and windows.

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