Photography, Illusion, and the Unspeakable Void  

In recent years, my practice has navigated the fissures of perception—where the boundary between reality and illusion often collapses in an instant. Photography never promised truth; its very existence is built upon the absence of light and the alchemy of chemical transformations, so how can we demand it reveal the essence of the world? My recent works all converge on the same question: When life itself is concrete enough, might images be precisely the illusions we need?

The transparency of film hints at the fundamental nature of images. Through techniques like layering and blurring, I dismantle singular modes of viewing, allowing photography to return to its primal state—a translucent, indeterminate medium. When precise focus loses meaning, the image reveals its spectral essence: neither solid nor absent, everywhere yet ungraspable, lingering like an apparition. These images reject clear narratives or emotional directives; they exist in multiple focal planes, like the overlapping shadows of memory or the wavering focus of a dream.

In the interval between the shutter’s opening and closing, something unnameable is developed. The image thus becomes a dwelling for ghosts, carrying what Benjamin called the "aura," yet existing in a far more muted form. I am captivated by this silent act of seeing—when the image enters the viewer’s retina, the confusion, palpitations, or contemplation it provokes are tremors of sensibility beyond language. These indescribable experiences point precisely to photography’s most precious quality: it does not explain the world but opens a chaotic yet fertile void for the viewer. There, all fixed meanings dissolve, leaving only the weight of the gaze itself.

摄影、幻象与不可言说的空


近年来我的创作始终游走于认知的裂隙——真实与虚幻的界限往往在瞬间崩塌。摄影从未许诺过真实，它的诞生本就依托于光的缺席与化学的幻变，我们又怎能苛求它呈现世界的真相？近年来的作品都指向同一种追问：当生活本身已足够具体，图像是否恰恰是我们所需的幻象？

底片的透明性暗示了图像的本质属性。我通过重叠、模糊等手法瓦解单一的观看逻辑，让摄影回归到它的原始状态——一种透明的、不确定的介质。当精确对焦失去意义，影像便显露出它的幽灵本质：既非实体，又无所不在；既难以捉摸，又始终萦绕。这些图像拒绝明确的叙事或情感指向，它们存在多重焦点，如同记忆的叠影，或梦境中摇晃的焦距。

在快门开合的间隙，某些不可名状之物被显影。图像因此成为幽灵的栖居地，承载着本雅明所说的"灵光"，却以更缄默的方式存在。我迷恋这种沉默的观看——当影像进入观者的视网膜，激起的困惑、悸动或沉思，都是超越语言的感性震颤。这些无法被精准描述的体验，恰恰指向摄影最珍贵的特质：它不解释世界，而是为观者打开一片混沌而丰饶的"空"。