行星（英語：planet；拉丁語：planeta），通常指自身不發光，環繞著恆星的天體。家，對我而言像是恆星般的存在，我「依賴」著生活的環境，如同行星「依賴」著恆星運轉，日復一日，我試著想像日常的未來，並將其化作永恆。
英文行星一詞 planet 源於古希臘文「πλανήτης（planētēs）」，意為「遊走者」（wanderer）。在一樣的環境裡原地踏步的狀態，像是貫穿一整個人生的時間軸，前進的步伐或許忽大忽小，忽快忽慢，與家的距離可能忽遠忽近。彷彿每個人生來就都注定沿著一個環形的軌道前進，軌道可能不是正圓，可能是橢圓。又或更加有機。但猶如地球的宿命即太陽，「遊走者」永遠圍繞著「家」漫遊。然而家屋中的物件實為獨立則毫無意義的存有者（beings），而我的存在則是此有（Dasein）。於是我藉著「此有」去「靠著」（bei）家屋的物件，與之產生連結，使其從並列的存有者身份解放，「家屋」的意義衍然而生。
一棟四十年來座落於北投區的透天厝，在未來的模樣會是如何？這家人利用各式手段，努力守護了這棟建築物免於建商合建或是因為都市更新而被徵收拆除；又或是這家人消極行事，房屋不敵成為危老建築的宿命，被庸俗的大樓取代後，碎落成殘垣斷壁，無人知曉其去處。那堵紅磚水泥為底砌成的牆，在兩個世代間被重複上過數次不同色號的白漆，作為十個小房間的間隔，或是經過斜切後成為樓梯扶手，又或是鑲上屬於民國初年流行的小黃磁磚後成為正門口旁「門面」的外牆。再熟悉不過的這一切，因為各種宿命式的想像正在慢慢崩解。
透過這個裝置述說的是一種持續在同一個環境下生活的時間感，原地緩慢自轉的燈，彷彿像是自身在一樣的環境裡原地踏步的狀態。螢幕與後方的旋轉燈，一個「行星與恆星」的隱喻，他們的關係，就像地球需要被太陽照射才能展現出物質的形象，螢幕中的影像也一樣，需要等到後方的旋轉燈照射才能顯像，若少了光源則為一片漆黑，如同我與我依賴著家一般，這裡的我是被家屋照亮的行星；螢幕中的影像內容——透天厝被敲碎散作斷垣殘壁，遊走在液晶屏的漆黑之中，圍繞在旋轉的投射燈周圍，等待不斷流轉的光源掃過，使之現形於黑暗之中，此時的家屋成了行星，以死亡的方式存在著，唯有在我的意識之光所及之處，獲得生的存活。
A planet (Latin: planeta) usually refers to a celestial body that does not emit light by itself and orbits a star. To me, home is like a star, I ‘rely’ on the environment in which I live, just as a planet ‘relies’ on a star to revolve around it. Day by day, I try to imagine the future of everyday life and turn it into eternity.
The word ‘planet’, originates from the ancient Greek ‘πλανήτης (planētēs)’, which means ‘wanderer’. The state of treading in place in the same environment, like going through the timeline of a whole life, the pace of progress may be large or small, fast or slow, and the distance from home may be far or near. It seems that every life is destined to move along a circular orbit. The orbit may not be a perfect circle, it could be an ellipse. Or even more organic, but just like the fate of the Earth and its relation to the sun, the ‘wanderer’ always orbits around ‘home’. However, the objects in the house are meaningless existences (beings) when they are independent, and my existence is this being (Dasein). So I use ‘Dasein’ to ‘rely on’ (bei) the objects of the house, connect with them, liberate them from the parallel existence, and the meaning of ‘home’ emerges.
What will a townhouse located in Beitou District for forty years look like in the future? The family might use various means to try to protect this building from being redeveloped by developers or demolished due to urban renewal. Or the family will act passively, the house could not resist becoming a dangerous old building, replaced by vulgar buildings, shattered into ruins, and no one knew its whereabouts. That wall made of red brick and cement has been painted over several times with different shades of white paint between two generations, serving as the partition of ten small rooms, or becoming the handrail of the stairs after being diagonally cut, or inlaid with the small yellow tiles popular in the early Republic of China to become the outer wall of the ‘facade’ next to the main entrance. All of these are too familiar because various predestined imaginations are slowly collapsing.
What is narrated through this device is a sense of time that continues to live in the same environment. The slowly rotating light in place is like the state of treading in place in the same environment. The screen and the rotating light behind it, a metaphor for ‘planets and stars’, their relationship is like the Earth needs to be illuminated by the sun, and the image on the screen is the same, it needs to wait for the rotating light behind it to illuminate before it can show the image. If there is no light, it is completely dark, just like me and the home I rely on, here I am a planet illuminated by the house; the content of the image on the screen —— the townhouse is shattered into ruins, wandering in the darkness of the LCD screen, surrounding the rotating projection lamp, waiting for the constantly changing light source to sweep over, making it appear in the darkness, at this time the house has become a planet, existing in the way of death, only in the light of my consciousness, it can survive.
蘇粲淵
Su Tsan-Yuan
1995年出生於臺灣臺北，目前生活於臺灣臺北。其作品聚焦於他與他的環境之間的關係，擅長將一再重複發生的日常以其獨特的敘事手法與有趣的形式呈現。藉由作品中的元素與物件之間的互動構成一個抽象的系統，一個他所看見的世界。
Tsan-Yuan Su was born in 1995 in the city of Taipei, Taiwan. His works focus on the intersection of the environment and himself, transforming his perception of the daily routine within the bustling city into distinct forms with unique narratives that portray abstraction in underlying systems. He utilizes these elements to symbolize certain characters in his world, and the correlation among these elements in his works is emphasized.