• 影像研究／創作者許鈞宜透過對謝佑承創作歷程的細緻分析，探討影像作為一種「生成的等待」狀態，如何在手工勞動、視覺錯視與技術模擬之間展開；
  

• 桃園市立美術館展覽組組長賴志婷從館方角度，分享《有燭火的靜物》委託創作始末，討論融合藝術思辨與兒童感知的可能性。
  

• 國際藝評人協會台灣分會理事長陳晞則聚焦謝佑承如何以錯置、感知操演等方式質疑技術與觀看體制，提出對媒介、觀看與酷異視角的批判。
  

• Researcher/artist Hsu Chun-Yi offers an in-depth analysis of Hsieh’s practice, framing the image as a state of “waiting for becoming” shaped by manual labor, optical illusion, and technological mimicry.
  

• Lai Chih-Ting, Chief of the Exhibition Department at Taoyuan Museum of Fine Arts, shares curatorial insights into the commissioned work 𝘚𝘵𝘪𝘭𝘭 𝘓𝘪𝘧𝘦 𝘸𝘪𝘵𝘩 𝘊𝘢𝘯𝘥𝘭𝘦𝘴, examining how the piece bridges artistic inquiry with children’s sensory perception.
  

• Lastly, Sid Chen, president of AICA Taiwan, explores Hsieh’s use of perceptual displacements and media interventions to question systems of viewing and technology, proposing a critique grounded in queer perspectives and media politics.
  

長瑩 MATTER 藍 270 gsm  [ UV白墨單色印刷 ]

圖: 恆成 春日雪 125 gsm[ 四色印刷 ]
文: 采憶 文風紙 72 g[ 單色印刷 ]
書中作品: 恆成 晨黑紙 115 gsm [ 隱形螢光油墨三色印刷 ]

Ever Prosperous “MATTER” Blue, 270 gsm
^{[ UV white ink]}

Image Sections: AUSPIC PAPER “ProLUX-S”, 125 gsm
^{[ Full color ]}
Text Sections: Cherry Paper “OPERA”, 72 g
^{[ Single color ]}
Works in the Book: AUSPIC PAPER “Refined Black”, 115 gsm ^{[ Invisible ink in three colors ]}

Exposed spine thread binding, with endpapers mounted on AUSPIC PAPER “Refined Black”