D2222

For photographers, certain moments have their own kind of romantic draw, particularly the pre-shoot and its aftermath. In these moments, it seems, the space and objects themselves become the true subjects of desire.

Before shooting begins, there is simply the serene, empty set, but it is rife with metaphors. Ropes, toilets, body piercing tools, etc. become something like the mosaic blur of an adult film—sensual in their mystery. Meanwhile, the vacated scene after sexhas all kinds of smells, objects, and emotions which linger. Sometimes the most naked relationships and stories between people develop only after the climax.

Although in the mainstream erotic image market, the key shots are almost always the “meat shot” (close-up genital intercourse) and the “money shot” (ejaculation, orgasm shots), to me, the moments that are unique to photographers consist in emotion and fantasy. So, when I shoot these other elements, people are no longer the subject; desire is.

Perhaps the climax shot is like the waves hitting the shore. Full of force, fecund, fleeting, and often attention grabbing. But what fascinates me more is what remains stranded when the tide retreats.

D2222-逆光顯影裝置

在《性愛攝影師系列-D2222》的影像中，我將高潮的部分去掉，只留下每次性愛攝影的前與後的空間。慾望本身的情節被抽空了，留下了慾望前後的情景，讓觀者重新凝視慾望的遺物。藉由「不在場的影像」與「在場的聲音」（ASMRotica），讓持有者接續書寫各種慾望的形狀。

有一些特別的時刻，是攝影師獨有的浪漫，就是「開拍之前」與「散場後」。好像在那兩刻，空間與物件成為了慾望的主角。

在性愛攝影之前的空景看似平靜，卻充滿了隱喻。繩子、馬桶、人體穿刺工具 ...等，好像被蒙上一層馬賽克，變得未知而誘人。而性愛攝影之後的空景，殘留了各種氣味、物件、情緒。有時候甚至在高潮結束後，才顯影出人與人之間最赤裸的關係與故事。

雖然在主流情慾影像市場上，關鍵鏡頭幾乎都是「Meat shot」（性器交合特寫）與「Money shot」（射精、高潮鏡頭）。但對我來說，那些攝影師獨有的片刻空景，其實情緒濃烈且充滿幻想。所以我在拍攝這些另類的關鍵鏡頭中，人不再是主體，慾望才是。

也許高潮鏡頭像是拍打岸邊的浪花，激情、綻放、稍縱即逝，常成為目光焦點。但更吸引我的是，當浪潮褪去後，擱淺的是什麼？