2024結構視差系列創作計畫是藝術家透過自身的人生參照，試圖模擬學生到教師、員工到雇主、人民至政府等看似上下對立、高牆兩邊的角色視角的對立相合，以此創作出不同的觀點。
在勞資視差作品裡，敘事結構被分為三個層面：平面作品，代表了單一的觀看；雙頻道影像作品，呈現了同時的對照；VR 360作品，表現了超越的視角。所有的影像刻意去除了人物角色，純粹以空間、裝置與自白呈現第一人稱的敘事。
建築專業背景的藝術家設計了一個由三個盒子組成的辦公空間，藉著空間的上下排序表現勞、資方的不同觀點與難處。位處於中、下層的勞動者不停的在桌椅、打字機堆成的階梯上下，持續著勞動工作的囚牢；而位於上層空間的經營者以上帝視角俯視中下層，但同時也被對外的炮火與內部的眼睛所攻擊著。
作品透過空間結構與運鏡，表現出對立面的相同點:每個人既是自己職場的經營者，也是國家社會中的受雇者；既是員工，也是老闆。透過平面的視角、動態的影像與空間的呈現，最後呈現超越兩者的觀點。
The 2024 Structural Parallax Creative Project Series is an artistic endeavor where the artist, drawing from personal life experiences, attempts to simulate the contrasting yet complementary perspectives of seemingly opposing roles such as student-teacher, employee-employer, and citizen-government. This exploration aims to create diverse viewpoints through artistic expression.
In the Labor-Capital Parallax piece, the narrative structure is divided into three levels: two-dimensional works representing a singular perspective, dual-channel video installations presenting simultaneous comparisons and VR 360° experiences offering a transcendent viewpoint. All visual elements deliberately omit human figures, relying solely on spaces, installations, and monologues to convey first-person narratives.
The artist, with a background in architecture, designed an office space composed of three boxes. The vertical arrangement of these spaces symbolizes the differing viewpoints and challenges faced by labor and management. Occupying the middle and lower levels, laborers constantly navigate stairs formed by desks, chairs, and typewriters, trapped in a cycle of perpetual work. Meanwhile, the upper-level management surveys the lower levels from a godlike vantage point but simultaneously faces external artillery fire and internal scrutiny.
Through spatial structures and camera movements, the artwork highlights the commonalities between opposing sides: each individual is both a manager of their professional life and an employee within the broader societal context; simultaneously a worker and a boss. By utilizing two-dimensional perspectives, dynamic imagery, and spatial presentations, the piece ultimately offers a viewpoint that transcends both positions.
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