忧心忡忡的美梦

Tokyo Phantom

拍摄于2019年的东京及周围城市。

作品借由这种类“巴黎综合症”的感受来探讨现代人对于人生的期待与落差的感受。这正是现代发达社会中大量暴露出的特质。

一方面是从小受到日本文化诸多方面的影响,在我脑子构建了一个关于日本的“美好印象”,另一方面是第一次真实地踏上日本的土地带来的幻想的破灭。不仅是对于日本,同样也是对于作为作者的我自身的一次认知的颠覆。如同三岛由纪夫在《金阁寺》中写到的对金阁美的想象的幻灭。 多雨的春天和低感光的胶片, 拿起相机在街道上不停游走拍摄,是我对东京幻想的“死”与“生”中唯一能做的事情。

美梦是一种期待,包合着些许的不切实际的幻想,不仅仅是作品中的拍下的那次日本之旅,而是在人生每个阶段里都会重复着升起幻想然后破灭。“忧心忡忡的美梦”正是夹在它们中间,摄影常常不经意间展露出预言的特质。

在作品中,我试图用音乐专辑的形式构筑每个章节,配以简单的诗句。第一章的 [海] 作为前奏导观者进入一种忧郁的氛围;第二章的[ 城市荒野]则是由现代化平面城市的碎片铺成的荒野,高耸的本质之塔成为废墟,只余下错综复杂的符面形象之间任意飘荡: 第三章的[孤独的霍普]则将城市中的现代孤独掀起一角:第四章的[忘忧]则是明媚的天气里偶尔忘却了烦恼,只剩下散淡的心情引着我们不断地漫游;第五章的[碎浪]是在游历中平卓马焚烧底片的逗子海边以及江之岛时拍摄的,阴天下的海更能调动人的愁绪,人们如同碎裂的浪芒,匆匆消浙。

整本摄影集都是由胶片拍摄,反转片淡淡的蓝调湿润忧伤画册中每个章节分界点都有轻薄、闪光、半透明的雾纸印制的插页,内容摘自日本文化中对我有过影响的:摄影、游戏、音乐、动画、文学。整本画册阅读下来从影调到情绪上都有一种由忧伤到明媚的流动。



Shot in Tokyo and surrounding cities in 2019.

The work uses this kind of "Paris Syndrome" feeling to explore modern people's expectations and gaps in life. This is a quality that is abundantly exposed in modern developed societies.

On the one hand, I have been influenced by many aspects of Japanese culture since I was a child, and I have built a "beautiful impression" of Japan in my mind; Not only for Japan, but also for a subversion of my own cognition as an author. Just like the disillusionment of the imagination of the beauty of the Golden Pavilion written by Yukio Mishima in "The Temple of the Golden Pavilion". The rainy spring and the low-sensitivity film, picking up the camera and walking around the streets to shoot are the only things I can do in the "death" and "life" of Tokyo fantasy.

In the works, I try to structure each chapter in the form of a music album, accompanied by simple verses. the first chapter
[Hai] as a prelude guides the viewer into a melancholy atmosphere; the second chapter
[Urban Wilderness] is a wilderness paved with fragments of modern flat cities. The towering towers of essence have become ruins, and only the intricate rune images are left floating freely among them: Chapter 3 [Lonely Hope] transforms the city A corner of the modern loneliness in the book: "Wangyou" in the fourth chapter is the occasional forgetting of troubles in the bright weather, leaving only a loose mood to guide us to roam continuously; "Broken Waves" in the fifth chapter is about It was taken during a trip to Zushi Beach where Nakahira Takuma burned the negatives and Enoshima. The sea under the cloudy sky can arouse people's melancholy even more. People are like broken waves, disappearing in a hurry.

The entire photobook is shot on film, and the light blue tone of the reversal film is moist and sad. Each chapter demarcation point in the album has an insert printed on light, shiny, translucent foggy paper. Influenced by: Photography, games, music, animation, literature. After reading the whole album, there is a flow from sadness to brightness in terms of tone and emotion.

                  ︎ ︎:shanshengart@gmail.com
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