I edited a colour photograph of plants to monochrome. The adjustment of contrast, brightness, and curves hid details from the original. Then, the photo paper transformed the digital photograph into a 3D object which allows me to conduct the carving on the surface. Removing the black surface of the paper, the white layer is exposed by the carving tool, which echoes the colour feature of the black and white photograph.

​

I imitated the objects in the photograph, just as the camera simulates reality. Through this method, I abstractly retrieved the information that the black area of the photograph lost.  The carving traces hindered viewers from easily distinguishing the photograph from handcraft. It challenges our perception of the relationship between reality and photographs. My carving, even though it is the reality, may be concerned as fake and artificial traces within the photograph, yet the photograph itself became the standard of authenticity.

​

My hands were dancing while the photos were still, and my tools made a sound while the images were muted.
 

我把植物的彩色照片编辑成单色的。对比度、亮度和曲线的调整隐藏了原作中的细节。然后，相纸将数字照片转化为三维物体，使我能够在表面进行雕刻。随着去除纸张的黑色表面，白色层由雕刻工具暴露出来，这正呼应着黑白照片的颜色特征。

​

我模仿照片中的物体，就像相机模拟现实一样。通过这种方法，我抽象地找回了照片的黑色区域所丢失的信息。 雕刻的痕迹阻碍了观众轻易区分照片和手工。它挑战了我们对现实和照片之间关系的认知。我的雕刻，即使是现实，也可能被认为是照片中的虚假和人工痕迹，但照片本身却成为了真实性的标准。

 

我的手在舞蹈而照片是静止的，工具发出声音而图像是无声的。