Performance

业, 2026

Person sitting at a desk in an office workspace, viewed from behind, using a computer with a large monitor, surrounded by office equipment and supplies.
Back of a man sitting at an office desk in front of a curved computer monitor displaying a beach scene. The desk has various items, including a notebook, a water bottle, and some gadgets. The office environment has cubicles, ceiling lights, and equip
Person sitting at an office desk viewing computer screens in a modern office setting.
Person with curly red hair sitting at a desk in an office, viewed from behind. The office has a modern look with large windows, overhead lights, and plants in the background.
Person with curly hair sitting in an ergonomic office chair at a desk in an open-plan office, facing a monitor, with another woman working nearby.
Woman with long brown hair sitting in a black ergonomic office chair at a desk, facing a large monitor in an open office with overhead fluorescent lighting.
An empty office cubicle with a black ergonomic office chair facing a desk. The desk has a large computer monitor, multiple power outlets, and some cables. Behind the desk are gray partition panels, with a yellow safety notice on one. The office has a

作品介绍

《占》由七幅构图近似的办公室摄影组成。六个工位由背对镜头的坐姿人物占据，另一个保持空置。重复使观看从个人身份转向姿势、习惯与日常秩序，也使办公室显现为一种安静组织身体、注意力、行动与时间的结构。

在装置呈现中，影像被输出在半透明棉布上并悬挂于空间。布面随着空气与观众的移动而轻微变化，使影像、阴影和身体彼此重叠。摄影因此在平面图像与空间结构之间摆动；观众不再只是从外部观看办公室，而被带入它的氛围之中。空置的工位并不是等待被补全的缺口；它打断重复，也为观众留下一个可以短暂进入的位置。

这里的“占”不只指被坐满的椅子或正在使用的工位，也指工作如何持续占据身体、记忆与注意力。通过重复、透明与缺席，作品思考日常工作如何被安静地组织，并逐渐成为一种被内化的状态。

Statement

Occupied consists of seven photographs of identical office workstations. Six are occupied by seated figures seen from behind; one remains empty. Repetition shifts attention away from individual identity towards posture, habit and routine, allowing the workplace to emerge as a quiet structure that organises bodies, attention, movement and time.

When presented as prints on translucent cotton fabric and suspended in space, the images remain physically unsettled. They move with the surrounding air and overlap with one another, with shadows and with viewers passing among them. The work therefore moves between photograph and spatial structure: the office is not simply represented but becomes a condition the viewer enters. The empty workstation is not a vacancy waiting to be completed. It interrupts the sequence and offers a position the viewer may momentarily occupy.

Here, “occupied” describes more than a filled chair or a working desk. It suggests how labour can continue to occupy the body, memory and attention beyond a particular task or workplace. Through repetition, transparency and absence, the work considers how everyday working life is quietly organised and gradually internalised.