2000年英國透納獎 ( Turner Prize ) 得主沃爾夫岡・蒂爾曼斯 ( Wolfgang Tillmans ) , 他的攝影作品不僅局限於單一的特定主題。 「靜物」系列的照片時常穿插於他的各式展覽以及出版物中，但令人驚訝的是，蒂爾曼斯的靜物照片卻未受到深入研究。雖然「靜物」這類題材在藝術史上已有悠久的發展，但蒂爾曼斯對這類主題的詮釋則有別於傳統，他偏好呈現桌面上凌亂的場景，而不是建構出井然有序的畫面。透過仔細觀看蒂爾曼斯的靜物作品，發現他傾向使用窗檯作為構圖元素和從高處俯瞰的視角，而這也使他的畫面看起來相當不自然。本文旨在探討蒂爾曼斯如何藉由攝影詮釋歷史悠久的靜物題材。為了更深入地研究此議題，本文試圖重新分析和比較蒂爾曼斯的創作手法及其構圖方式，以找出藝術家靜物作品中的隨機性，進而突顯日常物品於蒂爾曼斯攝影作品中的重要性。最後，有鑒於「平等性」 ( Equality ) 為蒂爾曼斯的創作思想核心，因此本研究將重新審視這一概念，用以深入闡析藝術家的作品。

Wolfgang Tillmans, winner of the Turner Prize in 2000, has not confined his photography to a single domain of representation. Of the various subjects with which he has engaged, the motif of still life is to be of particular interest to him, as this subject abundantly appears in his exhibitions and publications. Surprisingly, the still life works of Tillmans have not been extensively studied. Tillmans's own treatment of the still life genre is considerably different from the tradition. For instance, he tends to present messy situations with inconspicuous objects on a table rather than delivering ordered and clean pictures. A closer look shows also that some parts in his pictures look rather unnatural with a propensity to have compositions staged in front of a window, seen from a high vantage point of view.
This paper investigates how Tillmans's still life photographs might be reconsidered within the genre of still life. To go deeper into this matter, the methods employed by Tillmans in arranging and composing his works are subjected to a comprehensive analysis and comparison. The findings indicate that the efficacy of Tillmans's still lifes lies in their apparent randomness, which is a deliberate strategy to draw the viewers' attention to often-neglected daily life objects whose significance have been underscored. The study finally suggests that when it comes to interpreting Tillmans's work, the concept of equality ought to be privileged, given its centrality as a governing principle in all of Tillmans's artistic creations.

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