“Expressions of Life” centers on individual existence and the emotional experiences carried by the body. These works directly confront the subjects to highlight the human body and face, portraying the struggle and resilience that have been present throughout history and in real life, while demonstrating the photographers’ intergenerational compassion and activism.
Chang Chien-Chi’s The Chain series, created over six years, captured psychiatric patients at Lung Fa Tang mental asylum, who are linked by “chains of emotions.” This method bonds two patients together, attempting to manage their conditions through mutual restraints and shared labor. Chang uses life-sized frontal portraits to highlight the chains as the central metaphor: the chains, while restricting the body, also represent limitations on relationships and institutional systems. His work transcends the objectivity of traditional reportage photography, revealing the raw and complex human conditions.
Huang Tzu-Ming’s Anti-communist Tattoo on Prisoners-of-war from the Korean War exposes the physical marks on the bodies of prisoners-of-war in history. Many “anti-communist fighters” who fled to Taiwan after the Korean War tattooed anti-communist slogans on their bodies for various reasons or ideological stances while being held captive. These tattoos led to long-term separation from their families, and even after visits to Mainland China were permitted, they had to endure painful removal methods such as laser treatments, surgery, or chemicals, which left new scars. The skin thus became a living billboard of ideology and authority, also serving as a testament to the breaking of emotional bonds.
Wang Yu-Pang’s Kucapungane Documentary Photography explores the life stories of elders in the Rukai tribe. The images not only capture personal memories but also represent the culture and history of the community. Wang has extensively documented the tribe’s geographical environment, lifestyle, customs, and cultural traditions, offering tangible evidence of a fading history.
Pan Hsiao-Hsia’s Taiwan White Terror Human Rights History 1949~2009 is based on his interviews and long-term follow-up with White Terror victims since the 1980s. The works feature black-and-white images of victims revisiting sites or relatives holding portraits of the deceased, revealing personal stories of political persecution. Meanwhile, they also reflect deep contemplation of human rights after the lifting of martial law in Taiwan. These images serve as both documentation, questions about historical wounds, and reminders for future generations.
These works transform the subjects’ faces into reflections of their lives. Each expression, tattoo, and scar acts as a starting point for a story, guiding viewers to glimpse into the complexity of human nature, the weight of history, and the unerasable regrets they carry.