Liang Su’s practice begins with a persistent question: how do images shape what we are able to perceive, understand, and believe about the world?

Rather than treating photography as a transparent record of reality, Su approaches the image as a field in which bodies, time, memory, and technical systems continually affect one another. What appears before us is never simply given. Every act of seeing is shaped by position, experience, attention, and the limits of the frame.

Perception, Viewing, and Limits

Seeing is not a neutral act. It is always situated within a body, a point of view, and a particular field of experience. A frame enables the world to be seen, while also determining what remains outside it. Su’s work considers these limits not as obstacles to be overcome, but as the conditions through which reality becomes legible.

Time, Body, and Trace

The image is also a record of duration. Through movement, scanning, repetition, erosion, and transformation, the body leaves traces that exceed a single fixed moment. Time does not simply pass through the image; it is compressed, displaced, and made visible as a shifting relation between presence and absence.

Image, Technology, and Transformation

Photography, moving image, projection, scanning, and augmented reality are used not as technical effects, but as methods for reorganising scale, distance, and attention. These processes allow the image to move between stillness and motion, interior and exterior, black and white, visibility and obscurity.

Each body of work is therefore not an illustration of a fixed theme, but a distinct situation for rethinking perception. The work asks not only what we see, but how what we see has come to take shape.