This work delves into the transformation of the identities of the observer and the watched in the process of surveillance. This issue is not only related to the dynamics of power relations, but also to the ambiguity and fluidity of the individual’s position in different situations in modern society.

Firstly, the identities of the observer and the watched are not constant in the process of surveillance. With the advancement of technology and the increasing prevalence of surveillance methods, the boundaries between the observer and the observed have become increasingly blurred. The work explores this phenomenon through the placement of the monitors, revealing how individuals are empowered or disempowered in different contexts in modern society – the observer can instantly become the watched, and vice versa. This identity fluidity is not only reflected in social systems and technological devices, but also in people’s perceptions of their own identity and understanding of their social roles.

Secondly, the work explores whether the audience actively chooses to be in power when they realise that they have the opportunity to hold power. This issue is about the lure of power and ethical choices. When the audience discovers that they are able to change from passive observers to active watchers, they are faced with an ethical dilemma: do they remain passive bystanders, or do they actively exercise their power to become power-holders? This is not only a question of identity choice, but also involves the individual’s self-positioning in the face of power, as well as obedience or resistance to social rules.

The work further provokes deeper reflection on power, surveillance and self-awareness. It challenges the audience’s traditional perception of surveillance and prompts them to reflect on how power is acquired, exercised and abused in the information society. At the same time, the work also leads the audience to consider whether they are willing to take responsibility when they have power, or whether they are merely indulging in the sense of control and superiority that power brings.

This work also embodies Foucault’s theory of Panopticism. According to Foucault, the operation of power in modern society is more and more like a ‘panoptic prison’, in which the individual, while seemingly free, is actually under the constant surveillance. This panoramic and open-view structure makes individuals spontaneously adjust their behaviours under the potential pressure of being observed, and become objects of ‘self-monitoring’. Through this background, the work reveals whether or not the viewer, when realising the possibility of being in the ‘panoramic view’, will choose to reverse the power relationship in the structure, changing from the watched to the watcher.

The work is not only an experimental exploration of the transformation of the identities of the observer and the watched in form, but also an in-depth conceptual reflection and interrogation of power, surveillance and ethical choices. It prompts viewers to go beyond a superficial understanding of the phenomenon of surveillance and encourages them to engage in profound self-examination and ethical reflection in the face of power. This complex interaction reveals the intricate connection between the individual and power in contemporary society, and reflects the critical and inspirational nature of artworks in exploring social issues.