許哲瑜(Che-Yu Hsu)總是虛構一對男女主角於他的創作中。

對藝術家來說再現的概念不是回溯事件，而是事件的劇場化。訊息形式上的精確，卻又是訊息的無法辨識，這即是一種介面的非理性狀態，功能性的背後，剩下的是介面的感性，一種景觀。

許(Hsu)仿照蘋果日報與動新聞製作的方式。在新聞中的示意影像中，是使用電腦技術建模製造出人型影像，並在不同的新聞中去示意還原案發現場，因此他也製作了一個虛擬角色，在不同的作品中、演出著不同的事件。對許(Hsu)而言，媒介不再是透明的，一個著實承接了訊息，但卻無法透出的中介。

一切事件好似都只不過是某人自導自演，一位沒有姓名的主角：無姓之人。

在不同形式的作品中，許(Hsu)試圖表現不同狀態的媒體時間感，對他而言都是一種屬於媒介自己構成的真實，介面消解了訊息，因而是非現實的。

 

Che-Yu Hsu always inserts a pair of fictional characters, one male and one female, into his work.

For artists, re-creation is not the event in retrospect, but the dramatization of it. Message is accurate in form but unrecognizable to the eyes – an irrational state of the interface. Behind its functional facade lies its sensible interior – a spectacle.

Hsu mimics Apple Daily and Next Media, whose animated news re-creates scenes using computer-animated characters. Hsu creates his own fictional characters acting in different events across his works. For Hsu, medium is no longer invisible, but an opaque intermediary faithfully transmitting the message.

An event becomes a product self-directed and self-acted by someone, a nameless character – The Perfect Suspects.

Hsu tries to present different time perceptions in media. For him, it is a kind of medium connecting with his self-constructed reality. The interface dissolves the message, making it unreal.