Created collaboratively by Su Hou-Wen and Chou Fang Yu, To Kill Time, We Kill Each Other Lovingly emerges from the couple’s long-term practice of photographing one another. Through an ongoing exchange of images, the work explores how photography becomes woven into the fabric of everyday life, transforming acts of looking, recording, and being seen into forms of communication.

 

Accumulated over time, the photographs trace the rhythms of living together. Moments of play, affection, distance, vulnerability, and performance unfold before the camera, revealing the shifting dynamics that shape intimate relationships. As the roles of photographer and subject continually alternate, neither perspective remains fixed. Each image becomes both a portrait of another person and a reflection of the self.

 

Rather than presenting photography as a neutral record of shared experience, the work considers how images actively participate in the construction of relationships. Through the repeated act of photographing one another, everyday life becomes a space where intimacy is not simply documented, but continually produced, negotiated, and reimagined.

 

Within the context of Subtropical Signals, the work turns away from grand historical narratives to focus on the smallest social unit: two people sharing a life together. In doing so, it reflects on how images shape the ways we understand ourselves, relate to others, and construct meaning within everyday experience.

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《相互愛上殺害後再彼此相愛》以蘇厚⽂與周芳伃⻑期相互拍攝的影像實踐為基礎，探討親密關係、共同⽣活與攝影之間的交會。作品透過⼀系列既嬉戲⼜內省的照⽚展開，在持續觀看與被觀看的過程中，記錄彼此逐漸成為⼀種理解、陪伴與溝通的⽅式。

 

在日常生活裡，相機經常出現在兩人的相處之中。如同家庭相簿⼀般，它保存著共同經歷的⽚刻；然⽽，當⼈意識到鏡頭的存在時，影像也不再只是單純的紀錄。每⼀次按下快⾨，都伴隨著對⾃我與他⼈的觀看、想像與回應。

 

作品所關注的並⾮某個決定性的瞬間，⽽是共同⽣活中那些反覆出現的微⼩時刻。在不斷交換拍攝者與被拍攝者的位置之間，兩⼈既成為彼此凝視的對象，也成為映照⾃我的鏡⼦。攝影因此不只是關於記憶的保存，更逐漸成為親密關係的⼀部分。

 

透過這些影像，作品提出⼀個關於親密關係的提問：我們如何看⾒彼此？⽽我們自己的理解，又有多少來自另⼀個⼈的⽬光？在這些介於真實與表演、⽇常與想像之間的照⽚裡，親密關係不被視為固定不變的狀態，⽽是⼀個持續⽣成、持續被理解的過程。