「Workers clear up the old studio owned by a KMT veteran. They believe that its a taboo to remove the statues, they also believe that there are some kind of spirit inside Chiang Kai-shek's statues so they will pray to it before remove or clear up.」
答： 幾年前幫紐時工作的時候接觸到 。對記憶比較感興趣，末代總督彭定康離開香港前曾經這樣說：歷史不只是一連串的日期，歷史是在歷史事件發生之前和後繼的一連串我們記憶所及的東西。這個項目想要呈現的是經過長期極權統治之後的社會和個人記憶（或失憶）現象，在過程中我會想起香港，看到香港的現狀也令我想起台灣。
“最後的信件”是對1949-1991年政治鎮壓和獨裁統治期間台灣暗藏歷史，政治往事和禁忌以及社會失憶的一個黑暗章節的視覺和檔案調查。 我製作的圖像和收集的檔案材料講述了一代又一代傳承下來的隱藏的創傷和記憶。 這些挖掘的記憶的基礎是缺少的存在-它們留下了過去，現在和未來的痕跡。
Last Letters is a visual and archival investigation into a dark chapter of Taiwan’s hidden history, political past & taboos and societal amnesia during political suppression and dictatorship of 1949-1991. The images I’ve made and archival material I’ve collected speak to the hidden traumas and memories that have passed on, one generation to the next. Underlying these excavated memories are the absent presences — which leave their traces in the past, present and future.
“回想過去，痛苦的感覺永無止境。試圖忘記，噩夢從未消失。等待原諒的迫害者永遠不會出現在我面前。所以我應該原諒誰？尋找真相，答案似乎 距離遙遠，但我永遠不會放棄，只能繼續前進，直到天亮。我將艱難地走過一條棘手的小路，直到一天結束。2019.08.24。”"Written by Chen Chin-sheng
"Thinking of the past, the painful feeling never end. Trying to forget, the nightmares never vanish into the air. Waiting to forgive, the persecefors never appears before me. So to whom should I forgive? Looking for the truth, the answers seem in distance, but I will never give up but move on till the daylight comes. I will straggle and tread a thorny path, till the end of my day. 2019.08.24."Written by Chen Chin-sheng
「Guo-Chih-kang使用的刀具。 台灣獨立抗議者。 他用切刀將前總統蔣介石的雕像斬首，並將其懸掛在他的位置上。
「Cutters used by Guo-Chih-kang. A Taiwan independence protestor. He used the cutters beheaded statues of former president Chiang Kai-shek, and hang the heads in his place.」
「現年69歲的Lan Yuruo住在在台灣新北市。 她的父親於1951年她一歲的時候被處決，母親因”“未舉報‘共產黨員”而於綠島入獄。」
「Lan Yuruo, 69, in New Taipei City, Taiwan. Her father was executed in 1951 when she was 1 year old, and her mother was imprisoned in Green Island because of "Not reporting the communist".」
Liu Yaoting's photo album handmade in prison in 1952-1953. Liu decorated the books with ornately folded candy wrappers, using the materials he had to pass the time in prison. Some of the letters are written in a pidgin Chinese, a reminder that many held in the KMT prison where the Sheraton Grand Taipei sits today had only limited knowledge of written Chinese, the result of 50 years of Japanese colonisation.
Upper left: An identity card copy of Yang QingLian, Huang Wen-kung's wife. Yang QingLian has dementia and did not remember her children's name at her late years, the only thing she insisted is, carrying an identity card with her anytime, as the fear of National Security Police come for checking. Bottom left: A family photo last seen by Huang Wen-kung in 1951. Right: A painting of Huang's family portrait in her house. 台灣政府通過《控制與懲治叛亂法》繼續鎮壓政治異見人士。 在遭受創傷和政治鎮壓之後，大多數受害者及其家人保持沉默。 該事件已成為心理創傷或家庭禁忌，使人們不願提及，而有些人由於壓力而無法進行討論和調查。
Taiwan government continued its suppression against political dissenters with the Act for the Control and Punishment of Rebellion. Most Victims and their families remained silent after the traumatic experience and political suppression. The event has become a psychological trauma or a family taboo that makes people reluctant to mention, while some restrain themselves from discussion and investigation due to pressure.
From Guo Ching 攝影 last letter. Executed in 1952.
Wei-Lizhi 95歲，患有癡呆症，他的兒子在他的拖鞋上掛了一個小鈴鐺為了怕他走失。 他是國民黨老兵。 蔣介石官方雕塑家。 At the age of 95, Wei-Lizhi suffers from dementia, his son hangs a small bell on the flip-flop for not losing him. Wei is a KMT veteran. Official sculptor of Chiang Kai-Shek.
「Taiwan marked the 71st anniversary in 2018 on the uprise against Kuomintang (KMT) where tens of thousands were killed during the White Terror from 1949-1991. Supporters of Taiwan Independence canalised the coffin of KMT Former President Chiang Kai-shek by splashing red paint on his sarcophagus. The Ministry of National Defence Security had reportedly condemned the action and said it was investigating the incident.」
Billy H.C. Kwok is a Hong Kong-Taiwan based photographer who began the career as a reporter in newspapers before pursuing his photographic career. He grew up in Hong Kong and witnessed its transition from the British to the Chinese regime, the wealth of stories that are present in the “Pan-Chinese” region and its extended areas have inspired Billy greatly and are reflected in his works. He has been selected as one of the Magnum Foundation fellows in 2018 and Magnum Foundation Fund Grantee in 2019 for his long-term project investigates into Taiwan’s political taboos & hidden histories and memories. His works also cover contemporary conditions after the handover, perceived as legacy of deep-rooted power structures in Hong Kong and China relationship.
Billy now splits his time between Hong Kong, Taiwan, China and South East Asia, among others. Apart from generating still images, he works both individually and collaboratively for multimedia storytelling.