Artist Book
如露亦如電 / Love Remains
2016
First Edition
400 copies
108 pages
13.0 cm x 19.0 cm
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Shashasha
如露亦如電
黃亦晨首部攝影集，以私密為儀式，以攝影為道，以情感獻祭。以超乎尋常的直覺，摸索生命的光影與計算。透過赤裸的關照，自信滿滿，卻又反彈，張力為之。
所有作品以黑白底片為軸心，呈現感官命題，突破禁忌，直達真實信念。作者在思考及構圖中規律暴亂，反轉龐然的溫柔與愛。此一特質來自黃亦晨判讀日常時畫面決斷，在格外冷冽與殘酷的瞬間，竟有種種擁抱與解脫的空隙。
真實中的所有掙扎依舊留待驗證，唯一追尋形式，是攝影，是一雙眼，是感官的多聲道，各種證物與根據，一如扉頁中無法相遇的晨間鳥鳴，以及裸身相對的辯證，解答了自身，卻也依舊未及，未果。
「一切有為法，如夢幻泡影，如露亦如電，應作如是觀。」所言之淡泊生滅，非常中的日常，在作者自況中，是無法逃避後的奮力一搏。所有韻律與節奏感，在自況之中，蔓生。那樣的幻滅接近死亡，恐懼，卻總能透過攝影重生。
《如露亦如電》是黃亦晨階段性的攝影之道，也是最為反差的一場瘋狂。唯有暴雨狂躁中，她能在時間裡，如此自在。
Love Remains
Love Remains is Sherry Huang’s first photo book. Taking the path of photography, the book is a private ceremony in which emotion is the offering. Bestowed with an extraordinarily powerful sense of intuition, Huang explores both the chiaroscuro and calculations of life. The fullness of her confidence is manifested through a naked awareness; yet it backlashes, creating tension.
Shot on black and white film, each photo proposes visceral content that breaks down taboos and expresses one true conviction. The creator revolts within the patterns and rhythms of thinking and composition, inverting a tenderness and love of great magnitude. This quality originates from Huang’s decisive analysis of the images of daily life, in which she has discovered that in the severest moments of bleakness and callousness, there are many fissures that allow one to embrace all and to free oneself.
The struggles of reality are left behind to be inspected and verified. Only the pursuit of form remains as photography, as a pair of eyes, as a multi-channel of the senses. In the flyleaf, the creator speaks of birds singing in the morning that she hears but never sees. Similarly, all proofs and bases shall never meet. Investigations stand starkly in opposition; they offer solutions to themselves, yet still they reach nothing and come to nothing.
A passage of a Buddhist epigram states, “all things resulting from a cause are like a dream or an illusion. We shall regard them as we would dewdrops and lightning.” It speaks of leading a simple life and, eventually, a simple death and finding the extraordinary in the ordinary. In the case of the creator, it speaks of the one last fight after failing to avoid the inevitable. Rhythm and cadence creeps across her predicament. Such disillusionment approaches death and fear; yet, it can always be resurrected through photography.
Love Remains is Huang’s photographic path during a certain stage of her life. It is also the most violently contrasting state she has yet experienced. Only amidst the tempestuous storm will she find ease and peace in time.
