鏡子是貫穿探尋藝術家的生命歷程的索引，在尋找線索的過程中反轉自身，察覺內在的生命是如何被作品所反射，從有機化的作品中探詢重新閱讀自身的體會，由探索影像的編輯者轉變為解讀藏於其中訊息的靈媒，邀請觀者穿透鏡子抵達另一個平行的世界或者從中反身自己，漫遊其中，探索屬於自己的靈魂切面。 經典文學劇作經常會以玻璃作為隱喻，所提的玻璃常常是作為指涉鏡子，尤其是莎士比亞的十四行詩中，玻璃出現了不下十次，卻都指代了不同的意喻，如同我們每次回望自身，總是有不同的折射面。行云的作品，以西方抽象繪畫之形鋪開，收斂而大膽的色彩疊加影像的立體厚度，從中產生視覺的牽引；另一方面，更帶有獨特的東方水墨佈局之感，透過近、中、遠景去呈現空間的結構感，如同繪畫所提的三遠法，以仰視、俯視、平視等各異的視點來建構影像，打破了一般攝影僅單一視點的局限，從中帶入不同的空間性，去投射自身的鏡中倒影與視角。 然而，鏡子在歷史中其實很少用來描述某人的外貌，一方面主因是當時製作鏡面的技術不佳，當人們從鏡子中回望他們，抑或可能看到自己的模糊的面龐，呈現某種自我推測的形象，或者是照鏡者想被認可的樣貌，所以鏡子裡的形象往往是意旨某種神秘而難以觸碰的存在，我們凝視，回眸的是遍尋不著的肖像。

Mirrors are an index that connects and explores the lived experience of an artist. The process of engaging with the looking glass becomes a journey of clue searching and self-reflection - an insight into how life is reflected by the artworks. The process is a voyage to re-interpret one’s feelings and perceptions through the creation of art works. At the end of this process, the role of the artist has transformed from an image editor to a physic who interprets the message buried within the images.

This exhibition invites the audience to travel through the looking glass to arrive at a parallel universe, to reflect on oneself, or perhaps roam across the experience of self-reflection to dig deeper into the other side of one’s soul.

In the literary tradition, glass is frequently used as a metaphor to refer to a mirror. In particular, William Shakespear’s sonnets made reference to the “glass” more than ten times, while each evocation points to a unique set of meanings. This could be seen as an allegory of life - how each time when one looks inward, creates an entirely different reflection.

As a lasting literary convention, mirrors are rarely employed to make direct reference to one’s appearance. This might be due to a limitation in mirror-making technology in previous eras, causing the viewers to be only able to make out a highly ambiguous view of themselves through the looking glass. Because of this lack of clarity, what is seen is often a presumed or idealized image of oneself which projects an outlook that is in need of critical recognition. Mirrors and its associated imagery, thus, are loomed over by mysticism. As one attempts to look through the looking glass for clarity, there stands only an unattainable, murky portrait of oneself in reflection.

Yeh,Tzu-Yin’s works are rooted in the tradition of Western abstract painting. The use of color is reserved yet boldacious, creating a three dimensional thickness through the overlay of colors and enabling an outpour of visual magnetism. Yeh’s oeuvre is also based on the distinctive composition of Eastern ink art. Through an interplay of the close, medium and long shots, the artist strengthens a structured sense of space. Bolstered by the “Three Distances” principle in Chinese ink art painting, Yeh’s pieces utilize various perspectives, including that of the upper distance (looking up), deep distance (birds eye view), and level distance (level view), to break the monotony and restrictions of single viewpoint photography. This technique provides a dynamic perception of spatiality and a way to project one’s personal reflection and subjectivity onto the mirror.