M模式是攝影的手動模式，透過使用者自定參數，讓光影的調節更為自由。如此的可變動性所追求的不單是曝光正確而已，而是讓掌握影像的主控權從機器回到自身。同樣的視角在不同的設定下，凝結的存在就有了不同的詮釋，所有擷取都是現實的切片，也是有意識被建構的真實。
所謂的真實，或許長期被認知中帶有重量的現實給植替了。面對無法迴避的陰翳，嘴角蜿蜒的弧線和涵納撐起的表面張力，相互交織成一座座流動般的白色孤島，如同生命書寫般逐字堆疊建構而成的不同段落，在時間之流的浮動與不安中找到平衡，所屬的座標也和環境產生相應對的關係軸線。變異的骨感空間化為立體的感光元件承接裝載飽滿光影的渲染，藉由感性知覺與理性邏輯的轉譯，細膩輕巧地掬起呼吸般隨行的現實，縝密地將生活光景建構再耙梳，解構再定義。M模式下的感光，取消慣性視角和扁平的單向理解，是一種生活方式和態度的實踐，不同的敘事格局讓現實的立面切割淘洗出孔隙，帷幕隨之增生穿透的細胞皮層，生命真實的輪廓隨著日常光影更徙而堆移，幽微地辯證著互為主體的永晝與黑夜。
The manual mode of a camera enables users to adjust light at will by customizing parameters. The adjustability aims not only great exposure, but to fetch from the machine the agency of producing images. The frozen beings in the same images are rendered differently under different settings. All cropped images are slices of reality, yet of knowingly-constructed truth.
Maybe the so called “truth” has been semi-eternally occupied by “reality”, which is encrusted with a certain sense of massiveness. Being formed by curves and enclosures similar to the oral ones, those streamlined white islets are themselves embodiments of the surface tension against the ubiquitous looming shadow; such tensions are like those in the depictions of life stages in biographies, positioned and rooted among the unsettling flow of time, from which all respective relations are mapped out. The mutating bone-like objects are like image sensors detecting and being loaded with the dark and bright, transfiguring them; they lightly hold up this reality pervasive as air, meticulously redefine and reterritorialize life scenes. “Switching to Manuel Mode” means a lifestyle and practice of dissolving habitual perspective and one-sided appreciation. Disparate curves and glides hollow the reality and they turns out to be a perfectly clear cell, sprouting from endless gloom. The true contour of a life changes along the dark and bright, moving faintly yet indeed revealing their dialectical character.