Film Title 片名 : 相思風雨中

Art Director美術指導 : Azai Lui (Simon)

身處瞬息萬變的商業美術浪潮中，我向來習慣讓作品隨風而去，深知物件的生命多由時間無情淘洗。然而，《相思風雨中》這部 MV 卻成了一個溫柔的例外。當它橫跨數十年、穿越地域，依然在無數人的青春裡反覆傳唱，我才在旁人的熱切迴響中，重新凝視這段被歲月格外垂青的光影記憶。

雖然我不常聆聽中文歌，但每逢投入工作，我總會將旋律與歌詞刻進靈魂，這是對視覺氛圍的絕對專注。當歌詞唱道「人海裡飄浮，輾轉卻是夢……」，這種命運的無常與情感的沉浮，便成了我解構空間的視覺線索。純黑的背景，使個體在命運洪流中的迷茫與無依抽離出來；一具破舊脫色的窗框，無聲地劃開了觀看者與被觀看者之間的心理隔闔；而那具沉重的舊螺穀，則隱喻著無法傳遞、終歸寂靜的癡心。這是流行文化裡的一次視覺實踐，也是一場跨越歲月的美學對話。至於這段光影能留存多久，給時間決定好了。

Living in the fast-changing tide of commercial art, I am accustomed to letting my works drift away with the wind, knowing full well that the life of objects is mostly washed away relentlessly by time. However, the music video Love and Rain became a gentle exception. When it spans decades and crosses regions, still sung repeatedly in the youth of countless people, it was only through the enthusiastic responses of others that I began to gaze anew at this memory of light and shadow, so uniquely favored by time.

Although I rarely listen to Chinese songs, whenever I immerse myself in work, I always engrave the melody and lyrics into my soul—a manifestation of my absolute commitment to visual atmosphere. As the lyrics go, "Floating in the sea of people, tossed about only to find it is all a dream...", this unpredictability of fate and the ebb and flow of emotion became my visual cues for deconstructing space. The pitch-black background isolates the individual's confusion and helplessness within the torrent of destiny; a dilapidated, faded window frame silently demarcates the psychological distance between the viewer and the observed; while a heavy, ancient seashell symbolizes an incommunicable, ultimately quiet obsession. A visual practice in pop culture. An aesthetic dialogue across time. As for how long this memory of light and shadow will endure, I leave that to time to decide.